In the article, the authors provide an assessment of the modernism art, cultivated for decades, in terms of the possibilities of its social and ideological influence. It is argued that the ideologists of the bourgeoisie had to admit that Western art culture was at an impasse. The article analyzes the works of philosophers and artists, such as: Lenin, Schwartz, Nietzsche, Brooke, Leist, Meyer, Reed, Bergson, Lauterbach, Huxley, Weir, etc. Among the many concepts -the theory of "cultural circles", "cultural lag" and "cultural traditions"; Theory of Art Evolution -Professor Munroe; theory of social and cultural dynamics P. Sorokin and others. However, none of these theories could put forward any significant, practically effective ideas that could breathe life into bourgeois art. Summing up the results of more than half a century of the modernism art, we can say that it did not enrich the artistic culture. Starting with contrasting itself with traditional art in a philosophical, theoretical and aesthetic sense, modernism fell outside the scope of art itself due to the absurdity of its practice. The authors believe that in search of a way out of the impasse, bourgeois scholars could not escape from "anti-realism" and art was against the individual. The path traveled by modernist art proves the futility of bourgeois art culture in the first half of the twentieth century, but does not deny its revival in the XXI century.

When writing the article, the authors pursued one goal: to understand why extreme subjectivity in art, the abandonment for centuries of setting traditions, laws and techniques in art led to the loss of aesthetic criteria by the modernism art, and what philosophical trends influenced this process. The methodological basis of the article is the principles of integrity, objectivity and historicism. The following methods were applied: historical and philosophical analysis, focused on the objective completeness of the study; cultural and comparative approaches aimed at establishing spiritual ties between artists of different historical eras. The article analyzes the works of philosophers and artists, such as: Bergson, Schopenhauer Nietzsche, Chirico, Apollinaire, Lenin, Bru, Kandinsky. Various directions of bourgeois art are considered. The authors believe that abstract art, fully antisocial and dehumanized, fully meets the aesthetic ideals of the modernism art, which opposed itself to human from its very birth. The authors argue that if you take the artists’ position of that time, you can make an unambiguous conclusion, the dehumanization of art could not be avoided. According to the authors, abstract art, fully antisocial and extremely dehumanized, is fully consistent with the goals of bourgeois ideologists and fully meets the aesthetic ideals of the art of modernism, which has opposed itself to man since its inception.