Philosophical foundations of constructing imagery in the modern art

The main problem discussed in the article is the existence of the source objective level in modern society, which exists to further processing process, and supports the direction and specific border crossing the visual environment in a modern society. Arguing against the accepted philosophy of the postmodern thesis of the absence of the “original” copies of iconic modern, i.e. the lack of objectivity of the original, the author relies on the classical subject-object relationship, which is stored in all directions of the twentieth century philosophy except for the philosophy of postmodernism. The author connects the change of the perception of objectivity with the type of rationality - its transition from classical to postnonclassical rationality clearly enshrined in the philosophy of science. The author analyzes the Art Nouveau movement in painting of the early twentieth century in Russia, which are considered as a special experience of developing a new type of objectivity - the transition to its generic quality (light, color, form, time, etc.). They act as an objectively predetermined “program” specific images deployment in the painting. Objectivity of Art Nouveau enters the program level, the elements of which are not the things in themselves, and the components of things ‘assembly’ - color, geometric shapes, the generation of space dimensionality projections of a “slice” of reality, including humans, and others. Art Nouveau masters objectivity at the level of the formation processes or marginal forms, in which concrete objects can be “inscribed”. The conclusion is that in the future experience of this subject was not disbursed, and subsequently lost, indicating “incompleteness” of the modern era and partly development of a reality in today’s information society.