SS 45. Fine art is an art, so far as it has at the same time the appearance of being nature

A product of fine art must be recognized to be art and not nature. Nevertheless the finality in its form must appear just as free from the constraint of arbitrary rules as if it were a product of mere nature. Upon this feeling of freedom in the play of our cognitive faculties- which play has at the same time to be final- rests that pleasure which alone is universally communicable without being based on concepts. Nature proved beautiful when it wore the appearance of art; and art can only be termed beautiful, where we are conscious of its being art, while yet it has the appearance of nature.

For, whether we are dealing with beauty of nature or beauty of art, we may make the universal statement: That is beautiful which pleases in the mere estimate of it (not in sensation or by means of a concept). Now art has always got a definite intention of producing something. Were this "something," however, to be mere sensation (something merely subjective), intended to be accompanied with pleasure, then such product would, in our estimation of it, only please through the agency of the feeling of the senses. On the other hand, were the intention one directed to the production of a definite object, then, supposing this were attained by art, the object would only please by means of a concept. But in both cases the art would please, not in the mere estimate of it, i.e., not as fine art, but rather as mechanical art.

Hence the finality in the product of fine art, intentional though it be, must not have the appearance of being intentional; i.e., fine art must be clothed with the aspect of nature, although we recognize it to be art. But the way in which a product of art seems like nature is by the presence of perfect exactness in the agreement with rules prescribing how alone the product can be what it is intended to be, but with an absence of laboured effect (without academic form betraying itself), i.e., without a trace appearing of the artist having always had the rule present to him and of its having fettered his mental powers.