Abstract

The twentieth century shows that the interest in fine art did not mitigate despite the radical changes in its form and content and the problem of his definition represents live and dynamic issue which has brought broader possibilities of looking at the art regarding the anti-essentialist tendencies. Determination of the status of non-European or other artistic production presents a specific place in the analysis and is the problem itself. Even prehistoric articles of European artistic production paradoxically belong to the artistic sphere of non-European tradition and occupy special place in the specific sphere of fine art, and present the challenge for theoreticians and recipients. The aim of analysis is to review relative contemporary approaches and their critical application to the environment of prehistoric art, which shows significant specifications perplexing the use of the notion of fine art. Author does not strive forsetting the definition of prehistoric art, but to point out the possibilities and the methods of how to get an integrated thesis on the artistic production of the oldest European period.