This essay introduces, discusses and criticizes Paul Ricoeur’s theory of art and music. Basically, Ricoeur advocates the hermeneutical approach to aesthetics and rejects the approach of sociology of art. He maintains that art transcends its temporal and spatial context of production, and attains a sempiternal status. What we should emphasize concerning art is on its ability to refigure the worldview and actions of its receiver, rather than on analyzing the material and socio-economical conditions of its production, which is basically retrospective. He insists upon the teleological prospective toward art. On the other hand, Ricoeur endorse the break with representation of abstract painting and sculpture of 20th century, maintaining that the ability of art to refigure is strongest when it is absolutely free of any representation of the world. It is argued that Ricoeur’s later aesthetic theses are inconsistent with the aesthetic model developed in his Time and Narrative (1983-5). This shows that to some degree Ricoeur does not pursue the same line of reasoning in Time and Narrative and the two aesthetic dialogues conducted during 1995-96.