As a tendency in the neo-positivist stream of the “semantic philosophy of art" we can isolate “analytic aesthetics”, which was formed in the 1950’s and 1960. This tendency was unusual in that it did not analyse art as language, but the language of analyses of art, the language of the actual aesthetic theories. And although there are grounds to pursue this tendency when analysing the semantic philosophy of art we must agree with M. Damjanovic when he says that “analytic aesthetics”, insofar as it does not analyse art itself, is at best only an introduction to aesthetics. Richards had some influence on the emergence of this tendency, but in the main the aestheticians of this school worked from the ideas of Wittgenstein in his later period and English linguistic philosophy which developed his views (12, 21).