The relevance of the topic is conditioned by the fact that the cognitive-communicative paradigm in the study of the historical and social functioning of artistic culture contributes to the development of new problem fields, the discovery of new aspects of the existence of facts of art, and the discovery of the main places for the interaction of art and reality. The phenomenon of the artistic picture of the world is of key importance in this context. On the one hand, it is viewed as a means of accumulating and transmitting ideal values, world outlook and people's perception of the world, and on the other, it is able to act as a hermeneutic tool for reconstructing individual and social ideas about the historical past and present, general and unique, about the primary and secondary. The aim of the work is to identify and culturological analysis of the features of the representation of the artistic picture of the world in the Russian avant-garde painting, reflecting the views of K.S. Malevich, M.F. Larionov and other representatives of the avant-garde. The task of the study is to consider the problem of the variability of Russian avant-garde painting as a consequence of increasing the level of individualization of the artistic picture of the world. During the work on the article, various research methods were used: mental modeling, comparison, comparison, analysis, synthesis. The theoretical and practical significance of this work is due to its effectiveness, because in the course of the research the ideas about the artistic picture of the world from the standpoint of the culturological approach, the features of its representation in the painting of cubo-faturism, radiant and suprematism were concretized. The results of the study include the identification in the works of E.A. Bobrinskaya, Yu.N. Girin, T. Goryacheva, I.M. Egorova, N.V. Zlydnevoy, N.P. Ledovskikh, K.S. Malevich, D.V. Sarabianova, A. Edgar, R. Sedgwick of the modern context of understanding the key issues of the avant-garde associated with the creation of images of a transformed reality that preserved subject-natural reminiscences and reinforced their constructive basis. It should be especially emphasized that Cubo-Futurism not only neutralizes the two-dimensionality of the surface of the pictorial canvas, but also allows visualizing time due to the simultaneous perception of the visual image. Expressed the same dynamics of radiation is realized due to "radiant" colored masses and textures. The ray, as the bearer of light, appears in the pictures as the beginning, creating a new transcendental reality different from reality, and the objective reality is replaced by the subjective reality, allowing the viewer to read and analyze the not specified and foreseeable "situation", but some scheme leading to the boundaries of the supersensory perception. Thus, it is necessary to draw a conclusion: the artistic picture of the world, embodied in the painting of the Russian avant-garde, is characterized by interiorization as the basis of human cognitive activity, the primacy of transcendental consciousness, belief in the development of human capabilities and abilities for a different perception of the world and the universe.
