The book is the first English translation of Nicolai Hartmann's
final book, published in 1953. It will be of value to graduate
students in philosophy, scholars concerned with 20th century
Continental philosophy, students of aesthetics and art history and
criticism, and persons in and out of academic philosophy who wish
to develop their aesthetic understanding and responsiveness to art
and music. Aesthetics, Hartmann believes, centers on the phenomenon
of beauty, and art "objectivates" beauty, but beauty exists only
for a prepared observer. Part One explores the act of aesthetic
appreciation and its relation to the aesthetic object. It discovers
phenomenologically determinable levels of apprehension. Beauty
appears when an observer peers through the physical foreground of
the work into the strata upon which form has been bestowed by an
artist in the process of expressing some theme. The theory of the
stratification of aesthetic objects is perhaps Hartmann's most
original and fundamental contribution to aesthetics. He makes
useful and perceptive distinctions between the levels in which
beauty is given to perception by nature, in the performing and the
plastic arts, and in literature of all kinds. Part Two develops the
phenomenology of beauty in each of the fine arts. Then Hartmann
explores some traditional categories of European aesthetics, most
centrally those of unity of value and of truth in art. Part Three
discusses the forms of aesthetic values. Hartmann contrasts
aesthetic values with moral values, and this exploration culminates
in an extensive phenomenological exhibition of three specific
aesthetic values, the sublime, the charming, and the comic. A brief
appendix, never completed by the author, contains some reflections
upon the ontological implications of aesthetics. Engaged in
constant dialogue with thinkers of the past, especially with
Aristotle, Kant and Hegel, Hartmann corrects and develops their
insights by reference to familiar phenomena of art, especially with
Shakespeare, Rembrandt and Greek sculpture and architecture. In the
course of his analysis, he considers truth in art (the true-to-life
and the essential truth), the value of art, and the relation of art
and morality. The work stands with other great 20th century
contributors to art theory and philosophical aesthetics: Heidegger,
Sartre, Croce, Adorno, Ingarden, and Benjamin, among others.
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