Aesthetic information arises when there is an aesthetic situation that connects the object with the perceiving subject: it is born here as a result of the fact that the object has a certain ability to give the subject aesthetic attitude towards himself, and the subject has an attitude of aesthetic perception, aesthetic experience, aesthetic appreciation of the real world, and hence of the given object. Therefore, aesthetic information is not inherent in the subject itself or the subject itself, but is born from the collision of a particular type of object with a particular type of subject. Of course, the aesthetic situation may have a more complex structure when the perceived object does not satisfy the aesthetic need of the subject and it changes its form with a certain practical effect. But such action is not necessarily for the emergence of aesthetic information - it is sufficient for a perceived object and a perceiving subject.

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As far as artistic information is concerned, it is born in a system that has a completely different and much more complex structure. This system is communicative in nature and is formed by the relationship between:
1. the object of artistic reflection,
2. the reporting entity,
3. the work of art, which is a new object, since it becomes completely self-sufficient even with respect to its creator,
4. the second subject-viewer, reader, listener for whom the works of art are created and to which they are addressed.

While aesthetic perception is a closed and self-confident system in which a person experiences, in one way or another, the natural phenomena, objects and actions of other people in the name of this experience, the artistic perception of the same objects with an open, insecure system whose purpose is beyond it - it is precisely the process of objectification of the perceptual results,  the creation of an artistic work that transmits this information to other people. Aesthetic consciousness does not contain an immanent, i. an inner necessity, a realization impulse; it only drives the person into action when the object does not satisfy him aesthetically and he attempts to convey to him his missing beauty or grandeur - that is how the aesthetic orientation arises, for example, in the gardener who makes a park and reorganizes a natural beauty in the painter, who repaired the hulled walls of a building, the woman who uses cosmetics to make her face more attractive. But if the object arouses a man's aesthetic admiration, it parallels his practical actions and makes him preserve the object exactly as it is - the caretaking attitude towards all natural phenomena or the objects in which we find true aesthetic value and which only would victims of any processing. However, the realization impulse is intrinsic to artistic consciousness. It can not be satisfied with the perception of the most magnificent or magnificent object; on the contrary, the higher the aesthetic value of a real phenomenon, the greater the need for artistic consciousness to create its own model to convey to others how the artist perceives, perceives and appreciates that reality.

The real aesthetic and artistic information is diely linked: on the one hand, the former is wider than the second, and the second is a private case of the former because one creates beauty not only in art but necessarily in art; on the other hand, artistic information is wider than aesthetic, and the latter is a private manifestation as one of the first, since artistic creativity in the whole volume of its content and formal qualities goes far beyond the limits of creativity "under the laws of beauty" The belief that the task of art is to select and fix only those elements of reality, which aesthetic value, originated in antiquity (for the first time we meet him in Socrates) and in various variants dominated the Middle Ages, the Age of the Revival, and XVIII th. Most accurately and consistently it is formulated by the aesthetics of classicism. But more Romantics reject this understanding of the subject of art, arguing that it should depict not the wonderful, but the characteristic or the expressive. Realism goes even further in this respect. His position is most accurately set forth by Chernyshevsky, who, arguing with Hegel's concept of art as an embodiment of the wonderful, proves the right and the need to portray not only the beautiful and not only the aesthetic, but all that is of interest to the person in life. In general, Chernyshevsky opposes the concepts of "wonderful", "expressive", "aesthetic", defining the spheres of life-assimilating art, and this definition exactly corresponds to the practice of the overall realistic art of the 19th and 20th centuries.

Therefore, since art not only has to be wonderful but can recreate, it depicts the wonderful in reality, its content is immeasurably wider, and therefore from this point of view artistic can not be considered as a private case and - a high form of aesthetic. The sphere of beauty is wider than the realm of artistic content, since the first covers life's reality, and the sphere of content is wider than the sphere of the wonderful, since art is not limited to reproducing the beauty of reality. Along with the wonderful art, it reproduces the other aesthetic qualities of reality - lofty, tragic, comical, and even aesthetic "anti-valuations" - crooked, disgraceful, low-minded, on the other hand its content is not to recreate the aesthetic aspect of life. The experience of the history of art clearly shows that along with the directions that actually sought to depict only the aesthetic properties were only "moments" of a much wider subject of art recreation. This refers first and foremost to realistic art, which studies and transforms the world as a complex set of aesthetic and non-aesthetic values ​​- utilitarian, moral, religious, political. Information extracted from the art in the process of knowledge of life - information artistic - does not coincide with the aesthetic information contained therein, but includes the latter as one of its countries. The history of culture shows that the concrete relationship between the artistic and aesthetic activity of man was indeed too moving, that in the different stages of the history of culture and the various artistic directions the relationship between them had a different artistic and aesthetic structure. One of the most interesting problems of the philosophy of art history and the wider philosophy of the history of culture is the study of the laws that determined the dynamics of the relation between aesthetic and artistic information. But the difference between these two types of information is not limited to what is said: another extremely important aspect of the difference between them is found when comparing the forms of their manifestation in the practical activity of man.