Generally speaking, values among objects - as well as among art valuables - are defined based on the especially significant properties and qualificatives differentiating i.e. privileging that artwork within a family of congenial phenomena/objects; first in the time of its origination and then in present time. The history of aesthetics and that of cultures both mirror the unstable status of the qualificatives of art value i.e. conditions for the historical transformations of valorisation. Objects or phenomena which pretended to be what we today call the valuable artworks, have acquired the required qualification within a hierarchised framework of their own time's cultural demand1 . A dynamic system of changes in equalising artwork's value with its social status brought about the disciplinary crisis of art theory, which failed to adapt axiologically to the new receptions of art and the standards of actual time.2 I'll derive a short account of crisis from the fundamental questions concerning the meaning of beauty, value and valorisation within culture and art, through history. The crisis arises during the period from the sixteenth to the eighteenth century, when art history became disciplinary articulated, incorporating the valorisation mechanisms of that time into its own methodological matrix, as if it was supratemporal and ahistorical.