I examine Jacques Maritain's views on the relationship between art and ethics or what is today called the ‘ethical criticism of art’, and examine what Maritain's thought can contribute to debates in contemporary aesthetics and wider society. In part I of the article, I approach Maritain's attempted reconciliation of artistic freedom and the demands of morality in three steps, first recalling Maritain's definition of art, second looking at Maritain's analysis of the extra‐artistic concerns of the artist, and third offering a critique of Maritain's views on why art is valued by the community and what justifiable moral claims of the community upon the artist might be—particularly regarding the method of production of artworks. Comparing Maritain's theories to those of contemporary writers in part II, I argue that Maritain's ethics of art can be used to complement Jacques Rancière's notions of the ‘distribution of the sensible’ and ‘artistic regimes’, and that, in the terminology of the ethical criticism of art, Maritain affirms a position which is a composite of ‘moderate moralism’ and ‘ethicism’—a position which is both explanatorily powerful in ascertaining how and why we recognise and value art, and flexible in accommodating changing artistic forms and practices.

This article considers Aquinas' doctrine of predestination as an eternal reality in God in light of its temporal realization in time by the incarnation of the eternal Son. In particular, Aquinas' repeated recourse to the ratio of the divine goodness as the motive of predestination is documented in conjunction with his teaching on the fittingness of the incarnation. In this light, the relation of the natural sonship of Christ to the grace of adoption is developed by Aquinas as the temporal realization of the eternal reality of predestination in God.