The article gives information about the competition between ancient culture and art. One of the main principles of the existence of ancient Greek culture was agony. The whole system of sports competitions, and not only, of ancient Greece was called agonistics (from greek agonisticos) the ability to fight. The ancient Greeks identified three types of competitions: in sports, in racing quadrigas (chariots) and horse races and in art contests. Agonistics for the Greeks was the main element of life and culture, which provided the opportunity to realize the life potential of every free citizen of the world, and in this way to assert themselves all over the country, come closer to the parents deities, in whose honor the Greeks demonstrated their skills in various types of athletics and competitions. Agonistics is a desire for self-claiming victories that would have required the Greeks, constantly and purposefully to train not only physical qualities, but also the skill of the art brush, sculptors the stack and the ability to write outstanding hymns, odes, poems and tragedies. In other words, competitive activity has been an integral part of the existence of the ancient Greeks; it affected all aspects of Greek life: education, culture, art, architecture, etc.In later history, we celebrate the influence of art Agonistics on the culture of Macedonia, Rome and the Greek colonies of the Northern black sea. For the first time to the competitive phenomenon in art drew attention Swiss Professor Jakob Burckhardt who applied the term “agon” in relation to antique battle between artists, sculptors, poets and others, in his work “Greek cultural history”, written in 1898−1902. Artistic agony continued for a long time to live in the works of the famous painters and sculptors of the middle ages. The ancient cult of physicality as the main motive of creativity of Greek craftsmen, continued his life in the sculptures of Michelangelo, Giovanni Lorenzo Bernini, Auguste Rodin, Antonio Canova; paintings of Michelangelo da Caravaggio, Raphael, Pietro da Cortona, Peter Paul Rubens and others. The prospect of further research should be the introduction of the information obtained about the artistic agony of ancient Greece to the lecture course of the disciplines “Olympic sport” and “Philosophy of sport”.