This dissertation explicates Nietzsche’s concepts of art and life-affirmation, including their interrelationship. Composition of the work follows a common division of Nietzsche’s philosophy into early, middle, and late periods. During the early stage of his philosophical thought, Nietzsche has established the metaphysical concept of art as the proper solution to the problem of pessimism as the life’s greatest problem. In doing so, Nietzsche ascribes central role to the ancient Greek tragedy, as the union of antagonistic principles Apollonian and Dionysian, believing in the possibility of rebirth of such tragedy in modern German art. Middle stage of Nietzsche’s philosophy reflects in the establishment of the concept of life as the central criterion for evaluation of all human activity, also in the affirmation of scientific optimism instead of earlier metaphysical conception, whereat art marks the commencement of scientific progress, and the signpost to the future of humanity. Finally, in his late or “mature” philosophy, Nietzsche rejects the science and scientific optimism in favor of his new epistemological doctrine of perspectivism. Based on his perspectivism, Nietzsche constructs a thesis of necessity of reevaluation of all existing values in order to affirm life as a whole, which implies thorough critique of science, religion, morality, and art. Hence, Nietzsche discovers the possibility for the true affirmation of life by establishing the perspective of will to power as the highest principle of the world and life in general, wherein art acquires the central place.