In the paper the anticipation of the transcendental function of art and artistic production in the phenomenological system of Edmund Husserl is under scrutiny. Despite the strong links between art and Husserl’s phenomenology, Husserl himself never explicitly considered art as having philosophical significance for his system. Thus I start by describing the way in which the “principle of art” closes up another transcendental system – that of Immanuel Kant. Then I proceed to show the close paral- lels between Kant’s reasoning in transcendental deduction and Husserl’s genetic analyses. I continue by analyzing the possible reasons why Husserl has not applied the “principle of art” in the way Kant did and then I look for possible places of application of this principle in Husserl’s phenomenology. Finally I show how Husserl actually prepared the ground for such application for the further generation of phenomenologists.
Aesthetics, Art, Edmund Husserl, Immanuel Kant, Passive syntheses, Phenomenology, Transcendental philosophy