In contemporary theory the problem of the relationship between religion and art is posed in a number of research papers. In the scientific literature devoted to the study of topical problems of philosophy, theory and history of art, the authors devoted their works to the problem of mastering the essential unity of the religious and artistic-visual language, comprehending their common meaning and purpose for individual and social human life. This article explores the specifics of enthusiastic religiosity, which is considered on the example of three works of Russian painting of the 1920s – "People of the Future" by K. F. Yuon, "Fantasy" by K. S. Petrov-Vodkin and "Death of the Commissar" by K. S. Petrov-Vodkin . The role of a work of art as an intermediary between the human world and the divine world is affirmed, and within the framework of enthusiasm, it is a person who performs an action towards the Absolute. It also defines a special place for art in the atheistic period, when it would seem inappropriate to draw parallels between artistic creativity and the religious component. This connection of the two aspects is capable of satisfying the completely objective needs of a person - aesthetic. However, the absence of a religious interpretation of the fine arts of Russia at the beginning of the century, during the period of the eradication of religious consciousness, turns the interest of the study to the definition of the “religiosity” of a work of Russian painting of the 1920s. Determining the indicated features is the purpose of the study. The religiosity of the works is manifested in the desire for a perfect future. Determining the peculiarity of the enthusiastic religiosity of the works of Russian painting of the 1920s, it should be concluded that the specifics were influenced by the search for a new artistic language through the transformation of iconographic and symbolic techniques, as well as the artistic traditions of Western European masters, caused by the formation of a new worldview in the 1920s.