Beardsley argues that the aesthetic object of a work of art cannot be defined by the subjective attitudes of the viewer, but must be based on the objective properties of the work itself. Through the principle of distinction and the principle of perceivability, he emphasizes the intrinsic qualities of a work of art to the exclusion of the artist’s intentions and physical aspects.
Beardsley argues that aesthetic objects are those properties of a work of art that can be properly appreciated and criticized. He takes the objectivist position that aesthetic objects cannot be defined by the subjective attitudes of the viewer, but can only be defined based on the properties of the artwork itself. His main interest is to analyze the unique characteristics and properties of artworks and explore how they affect the viewer’s experience. As such, he uses the principle of distinction and the principle of perceivability to exclude from aesthetic objects those things in a work of art that cannot be aesthetic objects.
In his first principle of distinction, Beardsley argues against the view that the artist’s intention is the aesthetic object of a work of art. He posits that the properties of a work of art must be inseparable from the work of art in order to be an aesthetic object. In order for the essential qualities of a work of art to be conveyed to the viewer, they must be inherent in the work itself. Therefore, he says that the artist’s intention, which is distinct from the work of art, cannot be an attribute of the work of art and must be excluded from the aesthetic object. For example, even if an artist intended to convey a particular social message, if that message is not directly manifested in the visual or auditory properties of the work, it cannot be considered an aesthetic object.
The principle of perceivability states that certain attributes of a work of art must be directly perceptible in order for it to be an aesthetic object. Beardsley says that things that are not perceptible at all or cannot be directly perceived in the experience of a work of art are called physical aspects and should be excluded as aesthetic objects. For example, if we say of a painting, ‘This painting has refreshing colors and a flowing sense of movement,’ we are making a statement about an aesthetic object that can be directly perceived by looking at the painting. But if we say, “This painting is made of oil paint,” or “This painting was created in 1892,” we are describing a physical aspect of the painting that cannot be directly perceived by looking at it.
By synthesizing these principles, Beardsley identified which of the attributes of a work of art can be objectively perceived and articulated the argument that when interpreting the meaning of a work of art as an aesthetic object, only objective attributes that are inseparable from the work of art should be considered. This perspective provides an important theoretical foundation for the idea that aesthetic evaluation should exclude the subjective interpretation of the viewer, and that evaluation should be based on the inherent properties of the artwork itself. This approach can contribute to consistency in the criticism and appreciation of works of art, and to the creation of more universal and objective evaluation criteria.
Beardsley’s theory has also been influential in redefining the framework of contemporary art criticism and appreciation. His insistence on considering the nature of a work of art and what should be at the center of the experience of viewing it has provided an important opportunity for reflection for artists, critics, and viewers alike. He emphasized the need to go beyond the surface and physical to a deeper, more intrinsic inquiry in understanding and evaluating the inner qualities of a work of art.
Ultimately, Beardsley’s discussion of the aesthetic object is an important guide for anyone seeking the intrinsic value and meaning of art, and his objectivist stance remains an essential criterion for assessing the true value of a work of art. This theoretical framework can also help to broaden our appreciation of art and its many forms of expression.
