The aim of the article is to single out Nietzsche’s reflection about art as intempestive. In order to do so, the differences between his position and the aesthetic fundamentals of Kant and Hegel are laid out. The airn is to show that the rejection of the latter is mounted on the need to pay particular attention to the historical concreteness of artistic manifestations. By keenly observing the historical realization of art, Nietzsche observes the specificity of the artistic principle of the Dionysian. In addition to acknowledging the proper weight and magnitude of said principle, we propose that its “discovery” allows Nietzsche to criticize the excesses of subjectivity, which he unrnasked in the public and artists of his time.