Lebenskünstler

James Tufts, in 1903, already knew that all art is (a) social practice:

Art has its origins, almost without exception, in social relations; it has developed under social pressure; it has been fostered by social occasions; it has in turn served social ends in the struggle for existence. In consequence, the values attributed to aesthetic objects have social standards, and the aesthetic attitude will be determined largely by these social antecedents. Or, in other words, the explanation of aesthetic categories is to be sought largely in social psychology.

And:

…art has its origin, not in any single impulse, much less in any desire to gratify an already existing aesthetic demand for beauty, but rather in response to many and varied demands, economic, protective, sexual, military, magical, ceremonial, religious, and intellectual.

Of course, an explanation of social psychology requires an engagement with many other fields, especially natural history. And the diverse art impulses Tufts identifies are expelled from the homogenized intellectualist academy.