The present essay aims to show the relationship between the Hegelian concept of the End of art and some currents in nineteenth century art, particularly referring to painting moving away from mere imitation and thus becoming a recreation of the object. Kandinskij’s, Mondrian’s and Klee’s writings, as well as their works, confirm Hegel’s conceiving of art as a sublation of immediate nature - a tendency that has its origins already in Plato’s dialogues. In Hegel’s Aesthetics lectures music is the main model in which all figurative arts are assimilated and transcended. This dissolution of forms appears in the political sphere and in the scientific fields as a peculiar character of modern age.