| Region: | Western philosophy |
| Era: | 18th-century philosophy |
| Alexander Gottlieb Baumgarten | |
| School Tradition: | Age of Enlightenment |
| Birth Date: | 17 July 1714 |
| Birth Place: | Berlin, Brandenburg |
| Death Place: | Frankfurt (Oder), Brandenburg |
| Education: | University of Halle University of Jena (no degree) |
| Main Interests: | Aesthetics |
| Notable Ideas: | Aesthetics as the perfection of sensuous cognition[1] [2] |
| Academic Advisors: | Christian Wolff |
| Notable Students: | Georg Friedrich Meier |
| Institutions: | University of Halle Alma Mater Viadrina |
Alexander Gottlieb Baumgarten (; pronounced as /de/; 17 July 1714 - 27 May[3] 1762) was a German philosopher. He was a brother to theologian Siegmund Jakob Baumgarten (1706–1757).
Baumgarten was born in Berlin as the fifth of seven sons of the pietist pastor of the garrison, Jacob Baumgarten, and of his wife Rosina Elisabeth. Both his parents died early, and he was taught by Martin Georg Christgau where he learned Hebrew and became interested in Latin poetry.
In 1733, during his formal studies at the University of Halle, he attended lectures on the philosophy of Christian Wolff by at the University of Jena.[4] [5]
While the meanings of words often change as a result of cultural developments, Baumgarten's reappraisal of aesthetics is often seen as a key moment in the development of aesthetic philosophy.[6] Previously the word aesthetics had merely meant "sensibility" or "responsiveness to stimulation of the senses" in its use by ancient writers. With the development of art as a commercial enterprise linked to the rise of a nouveau riche class across Europe, the purchasing of art inevitably led to the question, "what is good art?". Baumgarten developed aesthetics to mean the study of good and bad "taste", thus good and bad art, linking good taste with beauty.
By trying to develop an idea of good and bad taste, he also in turn generated philosophical debate around this new meaning of aesthetics. Without it, there would be no basis for aesthetic debate as there would be no objective criterion, basis for comparison, or reason from which one could develop an objective argument.
Baumgarten appropriated the word aesthetics, which had always meant "sensation", to mean taste or "sense" of beauty. In so doing, he gave the word a different significance, thereby inventing its modern usage. The word had been used differently since the time of the ancient Greeks to mean the ability to receive stimulation from one or more of the five bodily senses. In his Metaphysic, § 607,[7] Baumgarten defined taste, in its wider meaning, as the ability to judge according to the senses, instead of according to the intellect. Such a judgment of taste he saw as based on feelings of pleasure or displeasure. A science of aesthetics would be, for Baumgarten, a deduction of the rules or principles of artistic or natural beauty from individual "taste". Baumgarten may have been motivated to respond to Pierre Bonhours' (b.1666) opinion, published in a pamphlet in the late 17th century, that Germans were incapable of appreciating art and beauty.
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.
In 1897, Leo Tolstoy, in his What is Art?, criticized Baumgarten's book on aesthetics. Tolstoy opposed "Baumgarten's trinity - Good, Truth and Beauty…."[8] Tolstoy asserted that "these words not only have no definite meaning, but they hinder us from giving any definite meaning to existing art…." Baumgarten, he said, claimed that there are three ways to know perfection: "Beauty is the perfect (the absolute) perceived by the senses. Truth is the perfect perceived by reason. The good is the perfect attained by the moral will."[9] 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.[10]
For many years, Kant used Baumgarten's Metaphysica as a handbook or manual for his lectures on that topic. Georg Friedrich Meier translated the Metaphysics from Latin to German, an endeavour which – according to Meier – Baumgarten himself had planned, but could not find the time to execute.