Beauty may be in the eye of the beholder, but the beholder has characteristics, through which beauty is discerned, so far from relative that in order to hold a denial of their consistency, they first have to be assumed.
Bursts of paint collide, various textures take form, and line symmetry breaks with full certainty of the instruments being used are willed purposefully, to whatever artistic ends.
Knowledge of the medium and instruments being able to portray an accepted form of beauty, or being able to convey a new one, presupposes our senses being able to perceive and communicate on that objective basis.
Whether it's the use of spontaneous strokes guided by feeling over thought, or tones chosen for reasons of interior reflection rather than exterior representation, implied in the multitude of sensations experienced relative to the viewer is the intended purpose to produce that effect.
The intent to manipulate materials and tools, the basis of our sense perceptions to communicate, and signified with the stamp of every signature, the overriding purpose to harness these properties to certain artistic ends, is a collective form of beauty, objective to all painters and experienced by all viewers.