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The article investigates the artistic phenomenon of repetition through Sergei Eisenstein’s silent films. Special emphasis is laid on the analysis in terms of repetition in Eisenstein’s theoretical writings.

The article highlights certain artistic and esthetical aspects of the systematic change in the art of the first half of the 20th century. Based on specific factors, the author discovers a num ber of basic criteria for the artistic, esthetical and structural evaluation of post-visual phrases (relevant for both post-visual phrase of the first half of the 20th century and that one of the second half of the 20 th century and the beginning of the 21st century).

The article highlights certain artistic and aesthetical aspects of the systematic change in the art of the first half of the 20th century. Based on specific factors, the author discovers a number of basic criteria for the artistic, aesthetical and structural evaluation of post-visual phrases (relevant for both post-visual phrase of the first half of the 20th century and the postvisual phrase of the second half of the 20th century and the beginning og the 21st century).

The article explores the main stages of the emergence of phrasism, a systematic esthetic repetition through a grating pattern. The author differentiates between the repetition in visual art (visual phrase) and post-visual art (post-visual phrase) and analyses the evolution of both

The article overviews the development of the line as a pictorial element in Neo-Modernism. It refers to different variants of linear strategy in geometric abstractions and the tendency of the line to become the leading element of the work of art up to pure linear constructions, such as a two-or three- dimensional grid. This grid is the key structure of the new forms of modern art built on repetition.

The article analyses the image system of Giotto di Bondone, its role in the forming of the Renaissance representative tradition. By building up "architectural cubes", creating a spatial pause, intra-figure relationships, human events in the intra-image interplay (image-event), intimacy, an unbalanced and broken perspective, as well as reproducing the same facial type Giotto unconsciously formulates the idea of individuality in the plastic form and new pictorial strategy.

The article explores the image foundations of the last classic period, the large-scale socio-political and plastic reform of which led to certain changes in the functioning of the image. The image began to be subtilized and intimized, i.e. to define its traits according to the personal perception which it had never done before. It obtained broad powers of imitating models and resorted to replication, joined in the individual perception and impersonal mass vision, became an object of routine perception and unprivileged lifestyle. The analysis of the epoc's pictorial style will reveal its spirit and - no matter what - the model limitations of the image's existence.

The article is devoted to the classic period of the ancient history of the image. Here the classic image system is stripped of its protective linearities. The time of the image's permanent protective function, which it used to have in the geometric period in particular, has passed The rigid and classical artistic styles complete the formation of the ancient visual image system as harmonious and well-balanced which is supported by Empedodes' pluralistic imagery, Anaxagoras, Leucippus and Democritus' rnicroimagery and, primarily, by Plato's image conception

The article deals with the early antique period of image functioning (Geometric art, Archaic Greece, Physis Philosophy, Pythagoras). The author reviews the main image strategies of the time, the key one being overcoming the featureless imagery and creating model image constructions, i.e. the initial stage in the history of image development (from Geometrics to the invention of photography in the early 1900s). The softening of linear configurations and shaping of large mental images parallel to ixed style forms make it possible to see the emergence of the exemplary image.