Abstract
In the article, the ontological fundamentals of avant-garde visual arts are revealed. Analysing the history of Western European philosophy, the author shows that the transcendental dualism of the phenomenon and the noumenon served as the basis for impressionism, whereas the philosophical conditions of the possibility of avant-garde artistic practices lie in the field of phenomenological ontology. It is shown that the interpretation of being as a phenomenon facilitated the reconsideration of the imaginary status and the confirmation of intentional objects in the role of surrealist artists’ working material.
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