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David Hume suggested that beauty is not a property of objects but a sentiment felt by observers, inherently subjective.

Plato believed physical beauty is an imperfect manifestation of the abstract form of beauty, leading towards recollection of the forms.

Kant argued that beauty is a subjective experience universal to humans, based on the form of an object, without concept or purpose.

Plotinus saw beauty as the recognition of unity within objects, which reflects the form of the One.

Aristotle posited that beauty is related to order, symmetry, and definiteness, with the Golden Mean playing a vital role.

Schopenhauer viewed beauty as an escape from the suffering of life, and as a reflection of the Platonic forms or ideas.

Hegel claimed that beauty is the manifestation of the Absolute, emphasizing the unity of form and content in art.

Sartre posited that beauty arises when objects are perceived without the intention of using them, through the 'disinterested gaze.'

Wittgenstein's postulations suggest that aesthetics is deeply rooted in one's life form, emphasizing that understanding goes beyond explanation.

Hutcheson argued that beauty is perceived through an internal sense and that it is a matter of formal harmony and variety.

Moore claimed that beauty is a non-natural, sensuous quality whose existence is independent of human emotions.

Langer's aesthetics suggest that art symbolizes deep human feelings and that forms in art evoke corresponding emotions within the viewer.

Goodman introduced the notion that art is a form of symbolic cognition, placing importance on the interpretive relationship between the observer and the work.

Bell argued for the concept of 'significant form,' where an arrangement of lines, colors, and shapes is what makes an object beautiful.

Baumgarten is often credited with coining the term 'aesthetics' and considered it as the science of sensory knowledge, emphasizing perception.

Beardsley suggested that aesthetic experience is characterized by unity, intensity, and complexity, occurring during direct engagement with art.

Bullough proposed the concept of psychical distance, where emotional detachment enhances aesthetic appreciation and prevents practical associations.

Wollheim brought psychoanalytic principles into aesthetics, considering how unconscious processes shape our experience of art and beauty.

George Santayana maintained that beauty is an objectified pleasure, holding that aesthetic enjoyment is intellectual and sensuous.