, his last place of residence and work
Kant In 1781,
Immanuel Kant declared that Baumgarten's aesthetics could never contain objective rules, laws, or principles of natural or artistic beauty. Nine years later, in his
Critique of Judgment, Kant conformed to Baumgarten's new usage and employed the word
aesthetic to mean the judgment of
taste or the estimation of the beautiful. For Kant, an aesthetic judgment is subjective in that it relates to the internal feeling of pleasure or displeasure and not to any qualities in an external object. For many years, Kant used Baumgarten's
Metaphysica (1739) as a handbook or manual for his lectures on that topic.
Tolstoy In 1897,
Leo Tolstoy, in his
What is Art?, criticized Baumgarten's book on aesthetics. Tolstoy opposed "Baumgarten's trinity – Good, Truth and Beauty…." Tolstoy asserted that "these words not only have no definite meaning, but they hinder us from giving any definite meaning to existing art…." Tolstoy, however, contradicted Baumgarten's theory and claimed that good, truth, and beauty have nothing in common and may even oppose each other. Whatever the limitations of Baumgarten's theory of aesthetics,
Frederick Copleston credits him with playing a formative role in German aesthetics, extending
Christian Wolff's philosophy to topics that Wolff did not consider, and demonstrating the existence of a legitimate topic for philosophical analysis that could not be reduced to abstract logical analysis.
Heidegger Baumgarten receives a thorough and sustained treatment as one of the precedent thinkers to Kant in the seminar of
Martin Heidegger in the summer semester of 1933, and in the winter semester of 1933–34. == Works ==