How did 18th-century philosophers understand imitation in art?

In 18th-century aesthetics, the concept of imitation—rooted in the classical tradition of mimesis—remained a fundamental principle for understanding art. Philosophers frequently used the term to encompass both representation and expression, though its specific application evolved throughout the century.1

A significant development occurred in 1746 when Charles Batteux, in his influential work Les Beaux Arts réduits à un même principe, argued that the laws of taste have the "imitation of beautiful nature" as their primary object. This perspective established imitation as the distinguishing feature of the fine arts, providing a systematic basis for aesthetic judgment. Similarly, James Harris proposed in 1744 that imitation was the common thread uniting the arts.1

However, the 18th century also saw a shift toward the theory of art as emotional expression. Thinkers like Jean-Jacques Rousseau and James Beattie challenged the purely representational view, particularly regarding music, arguing that expression was the true source of artistic excellence. This transition eventually paved the way for the Romantic movement's focus on the imagination as the distinctive feature of aesthetic activity.1