Abstract
This chapter develops the potential of Kant's theory of fine art by offering an exposition and sustained critical account of the key notions of aesthetic ideas, genius, and originality. In particular, it is argued that Kant's linkage of these terms requires a notion that he does not do justice to — namely, that of artistic style. Emphasis is given also to the need to ground originality and (the related notion of) exemplariness in a comparative dimension based on comparative relations between artworks, rather than the psychological process that Kant emphasizes. The relation between such a comparative dimension and artistic style is explored at length, in relation to the specific case of painting. The account is shown to be able to accommodate, also, significant varieties of more avant-garde artworks.
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