The Philosophy of Fine Art, Volume 1

The present inquiry has for its subject-matter Aesthetic. It is a subject co-extensive with the entire realm of the beautiful; more specifically described, its province is that of Art, or rather, we should say, of Fine Art.

For a subject-matter such as this the term “Aesthetic” is no doubt not entirely appropriate, for “Aesthetic” denotes more accurately the science of the senses or emotion. It came by its origins as a science, or rather as something that to start with purported to be a branch of philosophy, during the period of the school of Wolff, in other words when works of art were generally regarded in Germany with reference to the feelings they were calculated to evoke, as, for example, the feelings of pleasure, admiration, fear, pity, and so forth. It is owing to the unsuitability or, more strictly speaking, the superficiality of this term that the attempt has been made by some to apply the name “Callistic” to this science. Yet this also is clearly insufficient inasmuch as the science here referred to does not investigate beauty in its general signification, but the beauty of art pure and simple. For this reason we shall accommodate ourselves to the term Aesthetic, all the more so as the mere question of nomenclature is for ourselves a matter of indifference. It has as such been provisionally accepted in ordinary speech, and we cannot do better than retain it. The term, however, which fully expresses our science is “Philosophy of Art,” and, with still more precision, “Philosophy of Fine Art.”