The essay gives a brief account of the aesthetics of the Graz school, focusing on the standpoint of the object as well as on that of emotions. Meinong's reflection on aesthetics stems from a psychological background and subsequently receives an ontological grounding. After examining the notions of imagination, fantasy representation, relation and complexion, I show how both the theory of production of representations and that of higher-order objects develop under the impulse of Ehrenfels's concept of Gestalt quality; both these theories (...) may be applied to aesthetics in the explanation of artistic creation and of aesthetic objects. Meinong identifies the specific object of aesthetics with the objective and distinguishes aesthetic feelings, which are true feelings, from imaginary ones. Witasek develops a psychological aesthetics built on the conceptual framework of Meinongian philosophy: aesthetic properties are ideal and extraobjective, they connect the aesthetic object to the subject's mental attitude; an aesthetic object is an object endowed with aesthetic properties, such as beauty, which depends on the degree of pleasure or displeasure the object may induce in the subject. Witasek, though, parts from Meinong as regards both the role of objectives, which he views as mere intermediaries of beauty, and the conception of imaginary and aesthetic feelings. In the last part, I present the reactions to Witasek's aesthetics, both positive and negative, within the Graz school itself, and I sketch Ehrenfels's and Veber's aesthetic views. (shrink)