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I think that's the audience people are implicitly talking about when they say a work of art is good: they mean it would engage any human.
The picture is slightly more complicated than that, because in the middle of the pond there are overlapping sets of ripples.My goal is not to compile a complete list, just to show that there's some solid ground here. So an artist working on a painting and trying to decide whether to change some part of it doesn't have to think "Why bother?I might as well flip a coin." Instead he can ask "What would make the painting more interesting to people?For example, there might be things that appealed particularly to men, or to people from a certain culture.If good art is art that interests its audience, then when you talk about art being good, you also have to say for what audience.In addition to our interest in faces, there's something special about primary colors for nearly all of us, because it's an artifact of the way our eyes work.Most humans will also find images of 3D objects engaging, because that also seems to be built into our visual perception.When you're trying to make things, taste becomes a practical matter. Would it make the painting better if I changed that part?If there's no such thing as better, it doesn't matter what you do. You could just go out and buy a ready-made blank canvas.But all art has to work on an audience, and—here's the critical point—members of the audience share things in common. In fact, faces seem to have co-evolved with our interest in them; the face is the body's billboard.For example, nearly all humans find human faces engaging. So all other things being equal, a painting with faces in it will interest people more than one without.