THE ORIGINS AND PREREQUISITES OF FORMATION OF AVANT-GARDE ART: AESTHETIC AND PHILOSOPHICAL ANALYSIS

Abstract

The article is devoted to analyzing the formation and appearance of modern avant-garde art. The author focuses on the study of the main prerequisites for the emergence of the avant-garde while paying attention to the coverage of transformations in the socio-economic and cultural sphere from the end of the 19th century, which impacted the changes in the artistic creativity of that time.
The article analyzes the ontological and existential aspects of the formation of works of modern art. Also, it characterizes the socio-cultural background of transformations in the field of artistic practice in the 19th and early 20th centuries. The author draws attention to the change of the main components of a work of modern art in comparison with a work of classical art at the structural, value, and experiential levels.
In connection with the growing attention to novelty, creativity and originality in modern times, the article considers the connection between novelty and tradition in modern art, outlines the role of tradition in general in the formation of artistic creativity of the studied period, as well as the attitude towards tradition inherent in avant-garde artists: revision of traditional concepts and categories, criticism and opposition to tradition.
The tendency of the synthesis of various types of art, the convergence of various types of art, and the combination of plastic arts with music, sculpture, and audiovisual art, the use of various installations, interactive technologies, characteristic of modern creativity, is highlighted.
It was revealed that as a result of the transformation of the aesthetic object in modern artistic creativity, there was a rethinking of the meaning of the concept of "aesthetic object", which caused transformations in the field of aesthetic experience, and, therefore, an important aspect of the research was the analysis of the possibility of aesthetic experience and aesthetic evaluation of works of modern art. In addition, the problem of the correspondence of the foundations of traditional aesthetic thought to the latest artistic challenges and the ability of aesthetic theory to respond to challenges in the field of modern artistic practice is highlighted.