 To combine all these dimensions into a coherent concept of art, as Diderot did in his art criticism, was to produce a general aesthetics exploring the capacity for human representations to render experience truthful and meaningful. Here, Diderot also explored the power and limitations of such practices as a form of human experience. In this way, the problem of viewing art and speaking about the experience of viewing art, or the question of judging artists that stage this experience, is akin to the problem of viewing and speaking about nature itself, and of judging the nature of the presentations put before us. Diderot’s “promenade Vernet” in the Salon de 1767 is something of a locus classicus for these investigations with its extended reflection on the presence of the viewer in front of a Vernet landscape painting and the being of that viewer in the natural world that the painting represents as well. His work in natural philosophy and the life sciences often manifests a similar subject-object preoccupation as well, and in this respect Diderot’s aesthetics and his natural philosophy have much in common.