The consept nullity at constructive sculpture

The huge developments revealed in the area of technology and industry which started in 19th century and dominated during 20th century was called ?industrial revolution?. The technological revolution which gradually accelerated, caused that the breaking of the conventional culture, the change of the rural life style and thus some fundamental changes in the economical, social and the political area.Those rapid changes in the world in technology and industry changed also the living and working conditions of the artworkers who then become free and stayed alone with nature. This reality lead them to do landscape and social paintings.This point of view of the artworkers caused them to analyse the nature and make synthesis. This term which had started to be founded with Cezanne was then called ?Cubizm?. Picasso and Braque were the first artworkers to carry the mass and movement thought to art, having utilized from the scientific theory which was a new improvement in 20th century in Physics area (theory of relativity) that the transformation of the substance to the energy expressed the time as a forth dimension. In the same term, the suprematism which Malevic promoted by emphasizing its infinity property was a reflection of the new comprehension of the area in Einstein?s theory of relativity.By having raised from those improvements and utilized from Einstein?s theory of relativity that the energy had a mass and the space was not a nullity, the constructivism emerged in Russia in 1920s. The theory alleges that the space cannot be distinguished from the substance and the space itself is conditioned with the presence of materials. As a consequenc, the constructivists took the space as a concrete substance and used it as a complementary part of sculpture.The realistic Manifesto? which Gabo and A. Pevsner jointly issued in August 1920 proved that they religiously examined the scientific works of the term (theory of relativity) and reflected those to their artworks. Furthermore, the most important aspect of this manifesto was the determination that the space had been used in a new meaning in sculpture.