William Shenstone's reputation has been dependent upon parts. He has been seen as a tasteful gardener who wrote verse, or as a poet who was also a landscape gardener. Until now, no one has studied his gardening, his daily activities, and his poetry as equal. expressions of one basic aesthetic view--the purpose of the present study.The Leasowes, Shenstone’s parental estate, became a popular tourist attraction during the early part of the century. There, tourists were able to leave their coaches and walk upon gravelled paths through "improved" nature. The paths followed the contours of his land, and Shenstone added small adornments like seats, urns, and statues. However, the Leasowes was a marked contrast to formal gardens of his time: Shenstone allowed no conspicuous display of his art.As a man retired from ambition but not from usefulness, Shenstone became an exemplar of "taste," a quality inherent in a select few, but with an ethical proviso. The tasteful man was able not only to live a genteel life, but was also obligated to act benevolently. These beliefs upon which Shenstone acted were derived from neo-Platonic philosophy, most notably that of the Earl of Shafteshury. The tasteful ran of the time was able to express his talents in various social and artistic ways. Shenstone, not surprisingly, became instrumental in editing Robert Podsley's final three volumes of his Miscellany, and he would probably have been named co-editor with Thomas Percy in the Reliques had death not prevented him.Shenstone cannot be considered a major poet not only because his other activities kept him from writing any massive number of works, but also because the good poetry he did produce was quite limited. He seemed, once past his apprentice state, never to be able to develop a unique voice combined with consistent artistic excellence. In short, his reputation as a poet must depend upon a relatively small canon and upon an even smaller number of verses that can he called poetry.Throughout his life, William Shenstone was concerned with art. It is not too much to say that he so merged art and life that, for him, the two could not he separated: his daily activities became minor productions and he strove for simplicity in art. Shenstone's aesthetic view was not original, but it was eclectic. He was fully aware of classical traditions, but he also knew the major aestheticians of his age--Shaftesbury, Addison, Hutcheson, Hume, Purke, anca Gerard. Shenstone's basic aesthetic--that the best art is that which conceals itself--was applied consistently to everything that he produced.

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At the third section of the “Analytic of the Beautiful” of the Critique of Judgement, Kant establishes the difference between pure judgements of taste and judgements of adherent beauty. The Author contends that the definitions presented there are problematic when one attempts to reconcile them with judgements of artistic beauty. In principle, every work of art supposes certain concepts and contents that determine it as an artistic object, so it would not be possible to formulate pure judgements of taste in their regard. In order to overcome these difficulties, it becomes necessary to articulate the ideas in relation to the nature of artistic production that Kant presents in the sections on Fine Art and the Genius, where the concept of “aesthetic ideas” (understood as internal intuitions of artistic objects) is introduced. Finally, the debate on landscape and gardening in the 18th century allows us to understand how pure judgements of taste can be made from two different ways of presenting aesthetic ideas in an artistic genre. / En el tercer momento de la “Analítica de lo bello” de la Crítica de la facultad de Juzgar, Kant establece la diferencia entre juicios puros de gusto y juicios de belleza adherente. A juicio del autor, las definiciones presentadas resultan problemáticas a la hora de intentar conciliarlas con juicios de belleza artística. En principio, toda obra de arte supone conceptos y contenidos que la determinan como objeto artístico, por lo que no sería posible emitir juicios puros de gusto sobre ellos. Es necesario articular las ideas en relación a la naturaleza de la producción artística presentadas en las secciones sobre arte bello y el genio, donde se introduce el concepto de “ideas estéticas” (entendidas como intuiciones internas de los objetos artísticos), para superar aquellas dificultades. Por último, el debate sobre paisaje y jardinería en el siglo XVIII permite entender cómo se puede emitir juicios estéticos puros a partir de dos formas distintas de presentar ideas estéticas en un género artístico.