The relevance of the research topic is due to the dynamic changes in contemporary art practice, which led to the crisis of classical art theory. There was a
problem of inconsistency of the established conceptual and categorical apparatus of art history with modern art practice. This requires a scientific revision of the
conceptual and categorical apparatus of art history to identify conceptual tools suitable for working with the latest situation in art. The study of the conceptual
system will contribute to the structuring of the research space and the development of a general topical theory that can adequately explain the artistic reality. Changes
in art practice and art theory must be comprehensively studied in connection with the general transformational processes in culture, of which they are an integral
part. The scientific task of the dissertation is: form a scientific model of the systemic relationship of the corpus of art concepts with artistic and non-artistic components of culture; in determining the principles and methods of structuring the existing body of new and classical concepts within a single system; clarifying and
supplementing the conceptual and categorical apparatus. To solve these problems in work involved a conceptual apparatus for studying the peculiarities of the development of modern painting. Painting as one of the most studied types of art, which at the same time has undergone significant modifications at the present stage of development, serves as an effective link in the analysis of changes in the conceptual and categorical apparatus. A review of scientific works on the problems of art conceptual apparatus is reviewed. The sources are divided into several groups by disciplines, within which concepts from the field of painting were studied, and by chronology. The first group includes literature on the history of art history and aesthetics (G. Welflin, V. Tatarkevych, M. Kagan, O. Golubets, etc.), the second group includes studies of the terminology of painting, conducted in philological disciplines (O.G Anisimova, V.N Sergeev, S.V Kezina, O.O Kovaleva, N.A Ovchinnikova, J. Lanlan, etc.), the third group includes sources that address the problems of the conceptual apparatus of contemporary art (G. Vysheslavsky , O. Sidor-Gibelinda, E. Herman, L. Smyrna, V. Khamatov, A. Puchkov, D. Skrynnyk-Myska, etc.). It is determined that the conceptual art apparatus of painting as a separate subject of research was studied only in philological disciplines (where a number of dissertations are devoted to it), but all these works belong to foreign publications. In Ukrainian science, the conceptual apparatus of painting has been studied singly and selectively in historical disciplines (works by O. Kovalevska), and in more detail — in art history and culturology, where a number of articles are devoted to this subject, but no dissertation or monograph. No research has been devoted to the analysis of new art concepts related to painting of the end of the XX — early XXI century. The general selection of the newest (those that appeared and were in use in the late XX — early XXI century) concepts contains only one thematic work (G. Vysheslavsky, O. Sidor-Gibelinda). All this determines the relevance of the study. The dissertation analyzes the historical preconditions for the formation of the corpus of art concepts in Ukrainian culture, it is established that the formation of the base of art concepts took place in several paradigmatic planes. Historical analysis of differences in the formation of art concepts within each of the paradigms allowed to determine the determining factors on the basis of which was
formed a list of influences on the art conceptual apparatus of a number of components of culture (the list of components includes social institutions, social groups,
worldviews of the historical era). The methodology of research of the functional-typological aspect of the interrelation of art concepts with the system of culture on the basis of systemic and functional approaches is developed and substantiated. Factors that prevent the structuring of the existing corpus of new and classical concepts within a single system have been identified. It is argued that in the process of structuring the conceptual system of art discipline it is necessary to distinguish between the organization of internal elements of the system and external influences on the system. The definition of the concept of "functional influence" is offered and the typology of functional influences which are carried out by a number of components of culture on art conceptual system is developed. This goal was achieved with the
introduction of the criterion of functional difference as the needs of the system in a particular action. The graphic image of the concept in the form of the scheme is
presented.
