Central category from Aesthetic since modernity, the autonomy of art is supported even by philosophical theories that claim to discuss the social and political aspects of the artistic phenomenon. The historical character of cultural productions has not gone unnoticed by thinkers such as Adorno and Marcuse, for example, but the cultural "conservative" elements of their aesthetic perhaps have imposed crucial limitations on their critical pretensions, despite the intentions of the authors. Among the scholars of the twentieth century who sought to understand the place and the social function of art, we investigated Pierre Bourdieu's work, especially because we believe he breaks with the idea of autonomy of art and its "auxiliary concepts" such as "pure taste" "art's transubstantiation power", "reader as co-author", "artist as uncreated genius", "art as a separate sphere from practical life", "aesthetic enjoyment disinterest" etc. To investigate his work, we intend to not only demonstrate the legitimating character of social inequalities from the philosophical discourses of authors such as Peter Bürger, Arthur Danto, Terry Eagleton and aforementioned Adorno and Marcuse, but also show that there are important theoretical problems that can be clarified and explained by confronting his ideas with those of Bourdieu. His characterization the cultural consumption as a social marker and through empirical and, through theoretical investigations in the intersection of sociology and philosophy, problematized various grounds of "scholar" aesthetics explaining its social legitimizing function and identifying its permanence and strength even in philosophical speeches seeking to explain the historical and social roots of the artistic phenomena.