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Famous for his support of abstract expressionism and his belief in medium specificity as an essential aspect of modern art.

Differentiated between the concepts of the sublime and the beautiful, emphasizing the role of terror in sublime experiences.

Developed a theory of aesthetics that centers on the notion of the will and the role of art in its contemplation.

Renowned for her work 'Against Interpretation', which argues against overly interpretative approaches to art, focusing instead on the importance of experience.

Developed the first systematic theory of beauty and art in his 'Poetics'.

Emphasized perception as the basis of aesthetic experience and the body's role in engaging with art.

Explored the relationship between politics and aesthetics, particularly in terms of the public space and the appearance of works of art.

Argues that beauty brings copies of itself into being, has implications for justice, and prompts replication.

Developed a pragmatist approach to art, considering the aesthetic experience to be a fully immersive, bodily engagement with the world.

Wrote 'Critique of Judgment' which is foundational for modern aesthetics, introducing the concept of disinterested judgment.

Challenged traditional aesthetics by suggesting that art was not just beautiful but also a manifestation of the will to power.

His work 'The Origin of the Work of Art' offers an ontological perspective, considering the essence of art and its role in revealing truth.

Argued that art is a matter of interpretation and not an inherent characteristic of an object, leading to his 'institutional theory of art'.

Pioneered the 'seeing-in' theory, which suggests that recognizing a subject in a picture involves both visual perception and imaginative seeing.

Wrote extensively on semiotics and the aesthetics of the middle ages; his later work also touches upon the concept of 'open works'.

Extended Aristotelian philosophy by adding the Christian theological perspective on beauty, noting it as a transcendental property of being.

Explored the impact of mass production on art in his essay 'The Work of Art in the Age of Mechanical Reproduction'.

Developed the idea of 'standard of taste', which attempts to reconcile subjectivity and objectivity in aesthetic judgment.

Theorized about the nature of beauty, the relationship between beauty and virtue, and the role of the artist in society.

Developed deconstruction, challenging traditional aesthetic concepts and opening up new ways of thinking about texts and works of art.

Introduced the concept of 'worldmaking' and focused on the ways in which art constructs and understands worlds.

Believed that the aesthetic experience is free and creative, revealing the meaning of the world to the individual.

Placed art within the structure of his dialectical system of thesis, antithesis and synthesis, and emphasized the historical nature of art.

Placed high value on the role of art in society, emphasizing its ability to critique culture and society.