This book examines the artistic choices of visual creators in the first decades of the 20th century.

These choices range from unexpected reversals in traditional styles carried out by pioneering creators, to unexpected shifts forward from their conservative colleagues.

The author writes: "How is it possible for creators, whose name has been synonymous with innovation, to change their artistic orientation and resort to exactly the opposite style? And why do some of them express themselves and produce works with two completely different styles, simultaneously? Or why do conservative artists, under the difficult conditions of war, join modernism, only to return to representational styles after their return from war to their homeland? And finally, most importantly, to what extent are we justified in treating cases like the above as a scientific problem and formulating corresponding questions?"