The article discusses fundamental aesthetic stances which Tove Jansson has adopted in her Moomin books, traditionally perceived as children’s literature. Nevertheless, the series is notably multi-addressed, and analyses of numerous scenes allow us to draw conclusions about the author’s own concepts of beauty and art, which are accessible to more experienced readers. As the study shows, Jansson’s approach does not correspond to one specific theory but rather inclines to perceptualism, emotionalism and hedonism. Furthermore, the article discusses the reflections on the act of artistic creation which the artist interwove predominantly into the characterization of Moominmamma and Moominpappa. In the traits of these two key characters she addressed aspects of her own two artistic domains, painting and writing. However, taking a stand on serious philosophical matters, she managed to retain an evident child-oriented address, demonstrating her unique mastery of double address.