In his article “Kant’s Musical Antiformalism” (Young 2020), with additional clarifications (Young 2021),1 James O. Young argues that Kant is an “antiformalist.”.

In the present paper, it is shown that Kant in his theory of fine art from the Critique of Aesthetic Judgment proves to be a proponent of aesthetic cognitivism, according to which art is, first, a source of non-trivial knowledge and, second, this knowledge also has aesthetic relevance. This issue has been raised several times in the recent research literature, but has not been substantiated, or only briefly. Central to this is Kant's conception of aesthetic ideas, with which fine art (...) symbolizes intellectual ideas of various genesis and with which his theory of art acquires a content-aesthetic dimension. Discussing recent research literature, an interpretation for the conception of aesthetic ideas and the accompanying expressive dimension of fine art is offered in a first part. Based on this, it will be shown in a second part that Kant hereby proves to be a representative of aesthetic cognitivism; this is shown by the fact that his theory of art confirms both criteria of aesthetic cognitivism. (shrink)