Recognizing a Great Work of Art

An artwork is normally used to communicate specific information about an event or a movement that had some remarkable impact on the society, thus can be easily recognized if the scene or event it depicts actually happened. In order to recognize an artwork, in terms of its greatness, one must have adequate knowledge of the event or characters being portrayed. This research essay will try to establish how we can recognize a great work of art. It will determine this by describing and formally analyzing artworks in terms of their historical context, features and decorations to establish its greatness. However, some audiences have raw analysis of an artwork, thus they may attribute the poor performance to neglect by the artist’s instructors who are mandated to guide the artists in the process of their work and even during live performance. In some cases, it might be due to racial discrimination since most of such performers are not native residents. This indicates that we should not prejudice an artwork based on the racial background of the author, but rather on its context and content.

Even though there are various forms of artworks, any great and outstanding one will attract a significant recognition from the viewers; thereby the attractiveness of an artwork determines its greatness. This indicates that the different forms of artworks should be analyzed separately in its context.

The problem to be investigated here is how and why an artist has been ignored by the society despite his contribution? This problem is justifiable since its conclusive analysis will actually help us understand the best ways to recognize a great work of art.

Ideally, recognizing a great work of art goes a long way with appreciating the work, its source and the information that it tries to display. A good art is eye-catching and very informative, meaning that it attracts a range of opinions about its suitability and informative nature (Stokstad and Cothren 7). Many people fail to recognize a good art because of various reasons, ranging from perceptions to the attitude and undue influence. Just hearing that a piece of artwork is wrongly designed is enough to make it be discredited (Stokstad and Cothren 8). Furthermore, a great artwork might not be recognized due to the viewers’ perception towards the artist or the aspect being presented. Societal norms and practices can also discredit the greatness of artwork without considering other variables and information it contains (Stokstad and Cothren 9). Unnecessary discrediting of the artwork due to personal reasons does not reduce the greatness of the art.

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For the last six years the French-speaking community has been honoring the memory of Gr?gory Lemarchal. A young French singer died on 30th of April 2007 at the age of 23. All his lifetime was marked by illness and fight against disease. However, he was also dowered, and that was an ethereal, celestial talent. Life of this man was like flash. Another life story was another destiny in which talent and fate combined (Stokstad and Cothren 12). People tend to believe that genius and suffer go hand in hand. Any correspondence can hardly be found between biographical facts and creation. On the other hand, creation and life are so interwoven, that any slight difference can hardly be found between them for men of talent. The truth is that more often people manage to outdrive each other. New tools are being invented in order to make people’s life faster and easier. What people really lack is time. This issue has been an important observation, made by Antoine de Saint-Exup?ry in his “Little Prince”.

According to Rosenthal and Jacobson, the disadvantaged singer in France in 2007 was basically a poor singer, which perhaps could be the course of neglect. However, in recognizing the great work of art, one’s economic status should not be a major consideration, but only the content and value of his work (Morrison and Anglin 95). It did not matter whether the singer was an immigrant from different country or a native, the underlying fact being the economic status of the singer. He could be a Frenchman whose origin was Puerto Rican, Mexican, Negro, or the one who could not afford the basic necessities of life (Rosenthal & Jacobson 7). Ideally, the disadvantaged singer was mostly from a low social class, and since he could not afford most of the singing requirements, his performance was significantly compromised (Wagstaff 8). This issue compromised his contribution to the artist’s industry. The audience attributes the low performance to neglect by the same audiences who are mandated to guide the singer during performance (Lucie-Smith 12). This might be due to racial discrimination since most of such singers are not native French singers. We should not discriminate an artwork based on the racial background of the author, but on its context and content (Stokstad and Cothren 14).

In this issue the hypothesis is that the author focused on what was that the audience’s attitude towards him and his cultural setting that could lead to the low performance in singing. However, this hypothesis might not be true because not all who come from low social class perform poorly in art and other activities (Morrison and Anglin 96). Therefore, examining an artwork is very significant and helps determine its greatness. Recognizing a great art will also boost the artist’s morale so as to enhance his creativity. Ideally, creativity is very important form of art development, and for the outcome to gain substantial recognition among onlookers so as to create attention, invoke debate and analysis on its appeal, content and expression (Morrison and Anglin 98). This means that an artist has a big role in making sure that his/her intentions are clear to enhance the recognition of his/her work. This goes hand in hand with a high degree of innovativeness to bring fictitious information to depict a reality, thus sending the right signal to the potential viewers.

According to Rosenthal & Jacobson (2007), some of the major questions for artists which need to be adequately addressed include the following. Who is to blame most for deteriorating singing performance of the French music industry? Do audiences’ expectations in terms of singing outcome about singer from poor setting or non-French singer confirmed by the very dismal singing outcome that such singer get (Stokstad and Cothren 12). What are the contributions of different singing institutions in the failure of school singers? Are poor singers only taught to fail in schools? What rationalizes their dismal performance in class? Are there singing programs which have been put in place in France to correct this anomaly or assumption that such singers are bound to fail? How will the singer perform if their instructors are motivated to change their attitude towards them?

According to Morrison and Anglin, the word spurter was used to refer to the senior artists who had been through the system up to an advanced level (Morrison and Anglin 98). It is like a transitional process from one level to the other. Such a group is believed to have the intellectual capability to cope with the situational issues ahead of them. However, since they were not known to many people, they could not be recognized, neither could their work. This indicates that familiarizing or popularizing the artist is another way of improving the recognition of their work.

A self-fulfilling prophecy is an idealistic and individual hypothesis that one intends to achieve at the end of a research work. This means that the researcher foretells an outcome that will best address the research question that could be approved or disapproved depending on the findings. If the outcome of the research fulfills the prophecy, then it becomes self-fulfilling, thus improving the nature and quality of their work (Stokstad and Cothren 17). The authors referred to an uncontaminated expectation to mean an anticipated outcome that is not influenced by the past occurrences. In most cases, the past greatly affects what happens in the future either directly or indirectly. For instance, if a singer used to perform poorly in the past and audiences became used to that, any improvement in the future could be influenced by the past performance (Rosenthal & Jacobson 12). This means that the audiences will not foretell with certainty that the singer can have remarkable improvement.

Ideally, the song is very empirical as it tested expectations of the audience (Morrison and Anglin 103). Songs are tailored and conditioned in a particular way to enable them to respond to environmental situations and fulfill the demands of the audience. A change in environment could stimulate a unique behavior distinct from those of the past. For instance, using either a dull or exiting performance will yield different outcome and subsequent behavior (Rosenthal & Jacobson 17). The expected outcome only becomes specific if the singer performs to the desires of the audience. Although the songs are similar in strain, their individual performance would vary due to orientation, thus giving a different outcome.

The results of his songs were amazing in that at the beginning, the first artistic works, whose training was specifically for exiting tended to have positive outcomes compared to the others (Wilson 13). The latter showed non-responsive behavior to other similar performances, meaning that earlier training environment had an impact on their overall attitude of the audience towards the song. In addition, the songs were “uncontaminated” because that could lead to unprecedented behavioral change, thus affect the outcome (Rosenthal & Jacobson 22). Notably, an uncontaminated performance was best suited for the artistic contest because it could provide a realistic and dependable outcome as per the singer’s expectation, even if the situation remained the same.

In general, fair selection of the singer to take part in the artistic contest is another way of recognizing the greatness of an art (Lucie-Smith 14). In case where an art is to be recognized fairly, the expected outcome is to make sure that both artists from lower and middle social class are selected to ensure fair representation. Concerning the second activity of putting the singer into different categories, this activity was to determine if there will be any significant change in musical performance. The first performance was not expected to determine significant progress, because it was his preliminary show (Graham-Dixon 55). Although its achievement was a remarkable improvement and showed some sense of greatness, his subsequent performances would show some levels of knowledge in art. The performance also aimed at evaluating any change in the normal articulation of the artwork. The result was that the singer under the contest performed well, having produced a good work. Therefore, fair selection of artists also improves the extent to which the resultant art performance can be recognized (Morrison and Anglin 104).

The results of the performance and their recognition also showed varied outcome that the artist got after doing the work. It was based on the hypothetical questions that the audience had formulated, and their responses that showed the recognition they attached to a great art. A number of respondents felt that the artistic system is the one to be blamed most for deteriorating recognition of singing performance of the artist in France (Wilson 14). This means that improving the system is a sure way of improving the recognition of an art. In addition, the audience plays a lot in boosting the recognition of art because they have the responsibility to evaluate the artwork and treat them equally (Rosenthal & Jacobson 38). This indicates that fair judgment of art depicts its greatness and improves its recognition among alternatives.

In essence, the level of recognition accorded to an art must indicate that the audiences were given ample time to identify the weak artwork presentation, thus give special attention to outstanding art. This is another way of recognizing and distinguishing a great art from meager presentations. Concerning the audiences’ expectations in terms of singing outcome, the singer or artist determines the outcome of his/her work, meaning that poor performance lowers the extent to which the result will be appealing (Graham-Dixon 61). This means that the extent to which the performance appeals to the prospective audience will have an impact on their ability to be recognized. In this regard, artwork that results from poor setting can be confirmed by the very dismal outcome that such artist gets. This means that the artworks will not be recognized.

In order to improve this, and ensure that the artwork can be recognized, the setting of the art and performance must suit the contest and theme depicted. Some of the instructors were found to have discriminatory attitude towards non-French singers, thus could not improve the performance of such artists (Wilson 15). This increased the gap of performance between the natives and those from other cultural settings, a situation that lowers the recognition of an art. Reducing the gap between the artists is a sure way of raising the recognition of their art performance, an issue that cropped up during the art movement.

The contributions of different singing institutions towards the failure of singer were also found to be responsible for lower performance. The outcome indicated that institutional changes were necessary to improve the performance of weak artists, a situation that might improve the recognition of the resultant artwork (Wilson 15). Institutional development of artwork will enhance the recognition of the outcome. Concerning the issue of whether the poor artists were only taught to fail or produce unrecognized artwork, it is arguable that this is not possible as no instructor would guide an artist on how to fail (Parrish 41).

The fact that comes out is that slow learners always emerge bottom in their art performance, no matter the extent that the instructor tries (Van Merri?nboer and Ayres 7). In order to improve the recognition of art, the speed, seriousness and level of accuracy with which the artist does his work can improve its recognition. The artist’s expectations also override those of the instructor, meaning that the latter should not be holistically blamed (Graham-Dixon 64). In that sense, both the instructor and the artist must work hand in hand to achieve the desirable outcome that can gain recognition.

The research established that the artists’ dismal performance was basically attributed to the preparation of an individual performer and his/her willingness to work hard (Wagstaff 24). The respondents also noted that there are some singing programs which have been put in place in the United States (U.S.) to correct this anomaly or assumption that such an artist is bound to fail. This reduces the recognition of his/her work. Therefore, in order to enhance the recognition of art, there should be close coordination between the artists and their instructors to make sure that the outcome meets the required standards.

Finally, a number of audiences believe that if the tutors are motivated to change their attitude towards the artists, then the latter would actually perform well in their artwork (Lucie-Smith 18). This indicates that the instructors play a lot of roles in making sure that the outcome, either in a form of a song, a sculpture or a drawing meets the demands of the audience. Therefore, ensuring motivation will improve interest in artistic work and have an impact on the outcome (Parrish 45). Subsequently, the artwork will be appealing and recognizable among the rest.

In essence, the term “interesting contrast” is used by the authors to distinguish the outcome of the artistic work from various performances. For instance, when the artists enter into competition, every one of them can improve significantly, but not unilaterally (Rosenthal & Jacobson 51). This means that the notion of being disadvantaged does not arise because there is more than one unique outcome from a performance (Graham-Dixon 77). Therefore, it indicates that the way one responds to an environmental condition differs and affects his/her performance. Improving the outcome to make it recognizable is through minimizing the contrasts and improving individual’s level of creativity (Van Merri?nboer and Ayres 13).

In summary, an artwork, be it a song, a print, a paint, or a drawing forms an integral part in educating the young people on responsible behavior, so that they could grow and influence other people positively. However, he was not recognized for his artistic work and creativity, maybe the song was dominated by the hits of the moment, lack of motivation, poor coordination, poor attitude, institutional failures, low motivation, and unfair selection. Specifically, the song was significant and worth recognition from all spheres and authorities of the country, something that did not happen. It shows neglect for the emerging talent that needs to be taped instead of being neglected for unknown reasons. Importantly, a fair choice of artists also advances the manner in which the art performance can be articulated because of their high experience, thus their output can be recognized.

However, since some of the artists may not be known to many people, they could not be recognized, neither could their works. This indicates that being familiar or popular can help the artist develop his reputation. In this regard, it is another way of improving an acknowledgment of their work. In order to recognize a great work of art, the artist must be motivated, creative, and improve on coordination, domination and selection criteria. The institutional capability must be enhanced to meet the changing consumer demands for the artwork products. Institutional development of artwork was also seen as a better way of improving artistic performance that would enhance the recognition of the outcome. This became apparent because the poor and well-to-do artists were only shown to fail and produce recognized artwork respectively.