After his third main work Creative Evolution (1907), Henri Bergson (1859-1941) seems to be strongly interested in art. The purpose of this paper is to elucidate this interest. After discovering in Evolution the ‹élan de vie›, that is, the internal impulse which drives the evolution of life, Bergson comes to be confronted with the problem of God, considered to be its origin. He begins paying attention to moral innovators in order to solve this problem in the 1910s, and it is also in the 1910s that Bergson often talks about art, making reference to the kinship between the aesthetic and morality. Therefore, it is quite reasonable to suppose that his interest in art is closely related with that in moral innovators. In fact, in his last main work The Two Sources of Morality and Religion (1932), while he mentions on the one hand the transmission of the ‹élan de vie› from God to humankind through the mystics, superior moral innovators, Bergson refers to the transmission of the elan of artists through works of genius on the other hand. As a matter of fact, he touched upon a certain kind of relationship formed through the works of genius already in Laughter (1900). Then it follows that Bergson resorts to his own idea on art when he meditates on moral innovators or mystics.