Abstract

The article is devoted to the analysis of the theoretical status and correlation of identification and interpretation procedures in the art criticism discourse. This especially concerns to the double-natured impact of the classic aesthetic theory on the art criticism and even on spectators’ taste – the development of the steady normative principles and formal grounds for understanding of the fine arts status impeded the opportunity of the avanguard or modern art to be admitted, as a result of this development. The next problem is to determine if fine arts could be identified as a language and especially as the the language of form. The article contains the review of the basic theoretical trends providing the requirements to the analysis and interpretation of art pieces in the contemporary art criticism.