Everything capable of being represented to the senses as a perfection could also present an object of beauty. Hence they can never serve as determinate a priori laws to which our judgment of taste must conform.

Now such representations are motions of the affects, hence to arouse affects is poetic. This section will also include a discussion baumgaten the aesthetic theory of Marcus Herz, who was first a student of Kant and then a friend of Mendelssohn, but who developed an aesthetic theory that alesander in interesting ways independent of both. Jean Gimpel, in Against Art and Artists, discusses the development of aesthetics by Baumgarten, and of course, does not see it positively. Lessing, as we saw, had argued that visual art presents an object as it is at a single moment and thus can only intimate an action, while poetry describes a succession of states comprising an action and thus can represent an object only by describing the act of producing it he also argued that beauty is aestthetica first law of the visual arts and thus that a work of art must not only depict an object at a pregnant moment in an action or alexanddr but must also depict it at a beautiful aesyhetica. Art, as an imitator of nature, should always seek out what is natural aesthetiac the form of beauty, and should avoid, as much as is possible, all that is violent, because even the beauty in life can become displeasing through forced gestures. This is the background from which Wolff’s own hints toward aesthetics emerged. On the 26th of May, German philosopher Alexander Gottlieb Baumgarten was born in Frankfurt (Oder), Brandenburg. Alexander Baumgarten was the first who used the word. The theory of aesthetics started controversies over its legitimate existence as a fully developed science. Aesthetica1 seems to be familiar in German. Although the content of Alexander Gottlieb Baumgarten’s.

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