Vasily Kandinsky belongs to number of openers of modern art language XX of century and not only because he "invented" abstract art — it could give it the scale, the purpose, an explanation and high quality. For this purpose, of course, a lot of things were required: endowments, attention to different art and philosophical traditions, own concept of creativity, and also certain social and cultural conditions.
The modernist style would like to show the world such, as if modern society went on the way of social improvement; but as through art society cannot be remade, it rejected a modernist style "as future model", having only partially used that was actual.
Peculiar and the relation to a graphic element in structure of an art form. Graphic in a modernist style outgrows in not graphic, and not graphic — in graphic. In the principle of pictorialism the convention which leads to an abstract arabesque amplifies. A. Verkade wrote: "There are no pictures, there is only a decor".
For masters of a modernist style the dual attitude towards reality is characteristic: to accept or not to accept. During a disappointment era the esthetic criterion is perceived by progress fruits like historical metamorphoses.
Modernist style history — history to some extent its crises which began with its first steps. Poe van de Velde, "this art which is given rise with belief that it in itself bears an end germ". The first works of a modernist style are fraught with a peculiar krizisnost of style.
As "fathers" of new art W. Van Gogh, P. Gauguin, P. Cezanne, Zh. Seurat, A. Toulouse-Lautrec — artists of postimpressionism acted. In certain cases the postimpressionism can be considered as the first stage of the Art nouveau.
developed the concept of "dinamografizm". Van de Velde emphasized internal symbolical character, spirit of energy and possibility of impact on mentality in an ornament. The modernist style and symbolism gave also various experience of a combination at creation of works from different materials.
The idea of synthesis of arts remained throughout all development of a modernist style by the most cardinal problem of art. "In it — as van de Velde wrote — there was a means for merge of art to life". Going to life, this movement wanted to make the contribution to business of updating of a social order.
All this was apprehended by representatives of a modernist style symbolically as signs of the future new world. Signs new remained for artists only era "ornaments". Not incidentally, to make them more "habitual", they were plentifully decorated, since registration of an entrance to the subway ("Gimar's style" to Paris and finishing machines at plants.
The inconsistent elements of a modernist style concerned in total and nature of its historical development, and structure of an art form. Perhaps, it is difficult to describe and analyse all contradictions, but to allocate main, defining it is possible. The irrationalism and a rationality, intuitionalism and scientific calculation, admiration of equipment and fear of "mechanization", an ornamentalnost and functionality, refinement and simplicity fancifully intertwine, forming extremely peculiar alloy. It is only necessary to add to this characteristic that the modernist style met a contradiction of the art — anti-art, and it often called into question its value for art history. That constant discrepancy which we see, is not, of course, an extraordinary phenomenon for history of arts because all styles were and are difficult and inconsistent but as development of a modernist style was quite short, all these contradictions appeared splusnuta, are squeezed. Therefore in a modernist style there was no evolution though usually resolution of conflicts sets dialectics of development in style motion.
However the concept "arts for art" does not look a little convincing at the end of the century: art has to turn into force capable to reform society. Substitution of original social transformations "revolution in consciousness" — idea which birth is dated a modernist style era; but times it comes to life and still. The esthetic utopianism, sometimes quite naive, paints any emergence of new style. This utopianism, facing the rigid and disappointing reality, led to tragic collisions of many artists and theorists.