"Kant's third critique, The Critique of Judgment, was published in 1790, two years after the Critique of Practical Reason. Although it did not receive the immediate attention of the previous two critiques-some even dismissed it as the product of senility-its historical impact has been significant. Kant himself looked upon it as "bridge between realms", and the completion of his critical project."
"For Kant, nature, which appears purposive [ Zweckmäßig] to the human mind, is the model or standard for artistic beauty. An appreciation of natural beauty suggests a moral disposition, whereas even "a hardened old usurer" could take an interest in art-pointing to the pre-eminence of natural beauty. The artist (genius) aims to create art that appears as if it were a product of nature."
"The core of aesthetic judgment of both nature and art is the perception of "formal purposiveness", or "purposiveness without a purpose" [ Zweckmässigkeit ohne Zweck], which allows for the "free play" of the cognitive faculties and leads to aesthetic pleasure. When Friedrich Schiller (d. 1805) wrote that a person "is only fully human when he is at play," he was building on Kant."
The Critique of Judgment was published in 1790, two years after the Critique of Practical Reason. It initially received less immediate attention than the earlier critiques but exerted significant historical influence. Kant regarded the work as a bridge between realms and the completion of his critical project. Kant established a hierarchy of fine arts: speaking arts (poetry, rhetoric), formative arts (painting, sculpture, architecture), and arts of the play of sensations (music). Nature serves as the model for artistic beauty and suggests moral disposition. Aesthetic judgment depends on formal purposiveness, enabling the free play of cognitive faculties and aesthetic pleasure. Kant identifies four moments—quality, quantity, relation, and modality—based on logical functions of judgment.
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