This chapter presents theoretical and philosophical perspectives on the psychology of arts in Western intellectual history. The term “psychology” appeared as a neologism early in the sixteenth century. Before that, philosophy and psychology were hardly discernable. Nevertheless, psychology concerns experiential aspects whereas philosophy refers to ontology. Plato and Aristotle’s discussions on arts exemplify this, as Plato argued that beauty concerns ontology, whereas Aristotle’s catharsis concerns individual experiences. Plato’s philosophy dominated the medieval time. However, with Humanism in the fourteenth century, experiential aspects became prevalent. Psychology appeared in the wake of this in the sixteenth century. Seminal changes in the understanding of art appeared when Alexander Baumgarten developed aesthetics in the middle of the eighteenth century. Experimental psychology was a consequence of this, as for example G. T. Fechner developed “experimental aesthetics,” and launched the dictum: “music as the direct factor.” This influenced all experimental psychology up till World War 2. The post–World War 2 traumas are still a decisive factor for the understanding of arts in the twenty-first century.