Of the Standard of Taste - Classic Text | Alexandria
Of the Standard of Taste, a deceptively simple title concealing a profound inquiry into the nature of aesthetic judgment. Is beauty truly in the eye of the beholder, or can objective standards exist in the realm of art and taste? This essay by David Hume, a work cherished and debated since its publication, challenges our assumptions about subjective experience and the possibility of universal aesthetic principles. Many casually misinterpret Hume's argument as a simple endorsement of relativism but a closer examination reveals a more nuanced perspective.
The roots of Hume's exploration can be traced to 18th-century philosophical discussions regarding empiricism and skepticism. While not explicitly mentioned with that specific title before its inclusion in Four Dissertations published in 1757, the themes of aesthetic judgement permeate Hume's earlier Treatise of Human Nature (1739-40). The era was rife with artistic innovation and burgeoning art markets. The debates and social commentaries surrounding these cultural shifts likely fueled Hume's quest to reconcile individual preferences with broader standards of excellence, a reconciliation seemingly as elusive then as it remains today.
Over time, Hume’s essay has served as a touchstone for thinkers grappling with art criticism, cultural relativism, and the very definition of "good" art. Immanuel Kant, though disagreeing with aspects of Hume's argument, engaged deeply with his views on taste in his Critique of Judgement. The rise of Modernism in the 20th century, and its subsequent challenges to traditional artistic conventions, further amplified the philosophical questions raised by Hume. It’s intriguing to consider how exposure to global art since Hume's time might further refine, or even destabilize, the "standard of taste" he proposed.
Today, in an age dominated by social media and hyper-personalized content, Hume's essay feels remarkably relevant. The debates about “cancel culture", the validity of artistic expression, and the role of expert opinion still echo Hume's central concerns. Has the proliferation of art and opinion eroded or strengthened any semblance of a common standard? And does such a standard, if it exists, serve to elevate or constrain the diverse voices shaping our cultural landscape?