The aim of the research is to consider the anthropocentric parameters of the Anglophone art discourse devoted to the Soviet painting of the 50–60s of the 20th century, to identify the character of the evaluation of the Russian art by representatives of a foreign culture and to study the patterns of art discourse formation in the process of intercultural interaction. The identification of the anthropocentric parameters of the art history text is carried out on the basis of a complex methodology, including semantic, contextual, pragmatic, communicative, cognitive and discursive analysis. The following results were obtained. Art discourse in question is anthropocentric in nature, which is primarily reached by the representation of the author of the text as a subject of cognition. The subject of cognition is represented as the subject of discursive knowledge and the subject of the discursive organization of knowledge. The explication of the subject of discursive knowledge in art history texts is done by the use of the predicates of perception and mental activity together with personal pronouns of the first person, means of subjective modality, comparative constructions, evaluative and emotionally marked lexical units. As a subject of the discursive organization of knowledge, the author of an art history text forms a description of an artistic im- age, organizing information in such a way as to transmit empathy to the recipient.