In the our day, most of the arts, like in the previous periods, do not make beauty and glory their subject, but reflect the ugliness that makes unpleasant feelings such as painful, disgusting, etc. ugliness is opposed to beauty, because ugliness makes an unpleasant feeling and beauty makes a pleasant feeling. These two opposite concepts can be included in one category when they are defined under feeling and emotional influences. Feeling and emotional influences are important in the concepts of aesthetics, including aesthetic experience, where the perceiver receives a feeling that enriches the experience when facing artistic subjects, whether pleasant or unpleasant. aesthetic experience is considered a value experience and in the analysis of aesthetics, it is the strength and weakness of the work of art, such an experience potentially exists in and is made by art objects. Jerome Stolnitz expands the aesthetic experience in the theory of aesthetic emotionalist so that the aesthetic experience is "successfully" completed based on the lengthy of interest in the subjects. The aesthetic experience is make in the uninterested and sympathetic attention to any object of awareness and contemplation on it, only for oneself with a hedonistic tone; this definition of experience, in addition to beauty, also includes ugliness. An aesthetic experience with a hedonistic tone is made by the lengthy of interest in ugliness. Interest during contemplation is stimulated by reference to emotional moods in relation to tensions between elements of the work of art. Such emotional stimulation is made by the characteristic of sympathetic and identification and becomes so perceiver for the convincing that it attracts his attention until the experience is made successfully and unity. In other words, despite the ugliness, perceiver is so emotionally immersed in the work that it engages his mind for a while. In such an experience, ugliness can be valuable and aesthetic, and can be called as "non invincible" and pleasurable despite feeling unpleasant. Now, while introducing Stolnitz's point of view in the theory of aesthetic emotionalist, we want to discuss his theory in the course of analyzing selected works of painful war photography, and specifically, the photographs of Don McCullin and Eddie Adams. The photographs that have the greatest impact on the audience due to the notification of war disasters. The photographs that show the moments of death in the Vietnam War reflect an ugliness that has a very painful effect on the audience, to the extent that they are outraged by the injustices of the war. we chose Stolnitz's approach to interpret and analyze their specific painful effects, which are an aggravating factor in emotional effects; why can it be a good ability for this kind of view because of the arousal and stimulation of emotion. the purpose of this research is to introduce a trend of aesthetic pleasure and analyze it in selected photographs of painful war, which most critics and audiences expect to be informed and represented with special intentions and goals in a value judgment to honor art. Painful war photographs in the analysis of Stolnitz's theory of aesthetic emotionalist show that painful war photographs, apart from the informational aspect, have an aesthetic aspect that makes a pleasurable experience in contemplation and lengthy of aesthetic interest. As a result, pleasure and aesthetic experience are not incompatible with the feeling of pain, and despite the unpleasantness of the photographs, the experience of the audience has an aesthetic and hedonistic tone. In McCullin's and Eddie Adams's war photographs, we are made an experience of "non invincible" ugliness (here pain) that has a hedonistic tone and is sustained by an aesthetic attitude. Experience becomes valuable and enjoyable when it is received with length interest and unity. These photographs make the experience that comes from reflecting on the events of war, both for those of us who are outside of it and those who are involved in it, in the form of photos. The experience that is made in the display of anti-human war events - destruction, hunger, displacement and especially death - and makes us think about how big politicians commit crimes for their interests. By sympathetic and identification with war photographs, we feel pain from them, which is fusion with cruelty and injustice, and we get an experience of war tragedies that we may never get in the experience of life. Painful war photos, apart from the aspect of informing, invite us to aesthetic contemplation and realize the experience that happened in war events; this acquisition of experience has a hedonistic tone, but it is accompanied by a feeling of pain. Finally, according to Stolnitz, pleasure is neither a value nor a factor for evaluating aesthetic experience, but rather a predicate for aesthetic value.in this research, the data was collected through library study and internet search and then analyzed by looking at the selected works of McCullin and Eddie Adams.