The article is devoted to the analysis of the artistic-figurative objectification of the idea of the Overman in M. Gorky‘s literary works. The study addresses the problem of Gorky’s Nietzscheanism, his receptive dialogue with F. Nietzsche’s philosophy and the semantic development of the Ubermensch concept. The aim of the work is to identify the forms of artistic embodiment of the Overman idea and the peculiarities of its semantic interpretation in typical characters of Gorky’s early works. In the course of the research it is stated that in the XIX – early XX century a new, socially revolutionary modality of a concrete historical explication of the Overman idea is formed, and has received its special manifestation in the discourse of the national literature of the critical-realistic orientation. The comparative semantic analysis of Gorky’s works allowed the discovery of the quite definite presence of the individual Nietzschean motifs and meanings in it. In particular, they are brought together by the themes of nihilism, overcoming of everydayness – the cult of freedom and – the rebellious impulse. It was also brought out that Gorky had formed his historically relevant socially oriented model for the interpretation of the Nietzschean Ubermensch. Two models of artistic and literary embodiment of the Overman idea were reconstructed and analyzed. They are the image-symbolic and social-realistic models. In conclusion of the study, we can say that Gorky’s Overman is primarily understood as a value-driven and socially different revolutionary man, striving for freedom through rebellious nihilism and breaking – social stereotypes.