The work represents in a way a reduced view of the development of the aesthetic thought, from the Greek antiquity to the present day. Therefore, within this inseparable relationship between art and observer, and through a chronological sequence of art growth, my aim was to show that art and the view on art work in an interactive way, as exploring the paths of the freedom of spirit, art and its philosophy tend to unity and a common purpose. The artistic value as an immanent piece of art does not represent an invariable constant, but is conditioned by the social context and expectations and as such acts cyclically, with these periods being easily named as the artistic mode. The essence of the question, which can be identified as an imaginary thread through the whole work, is about distinguishing between art and the lack of art, culminates in the contemporary art, where everything can be identified as art. The answer to this complex question can somewhat be found in today's most prominent philosophical considerations. Among others, in the well-known institutional theory by George Dickie and the convincing discussions from analytical philosophy by Arthur Coleman Danto. Though these two theories provide the majority of relevant answers to the questions posed, in my opinion, a new subject opens up, whose caused actuality imposes a future serious approach, and that is the question of artistic authority.
Within the applied part I tried to articulate my personal approach to the practice of contemporary art. This would essentially mean to offer an active relationship to the observer through the density of information, in search of the artistic value, where the simple contemplative approach is no longer enough and where beside the silence at the observational level, both intuitive and intellectual understanding are actively involved.