Abstract
Conception of style has been placed, positively or negatively, in the central part of methodological problems in the process of modern science of art and art history. Its meaning, however, is very confused and equivocal. Here, thinking of style as a peculiar structural totality of the work of fine art, we try to examine few past considerations about style-concept which can be treated as concerned with the stylistic structure in the phenomenon of plastic work itself-namely, theories of E. Panofsky, E. Wind and H. Beenken, and lastly to maintain that we, with H. Sedlmayr, could understand under "the structural analysis" a significant and useful method of studying individual style in its whole character. Style as belonged to intuitve totality of the work is neither a mere form of expression nor a mere content of it. Rather we must always find in it an organic, dynamic connection between the outside and inside of artistic event.
