It is commonly believed that the ability of artistic works to provoke feelings in the audience is a seamlessly accepted and simple fact. It only appears apparent that people may feel pity or sadness for imaginary characters, panic at the sight of frightening horrors on the film display, and happiness after listening to happy, upbeat music. In the first place, this could be why so many of the people are consumers of art. Good art, most of the people tend to consider, ought to not make them cold.
Nonetheless, these common beliefs, even though they are natural, they turn into a problem when people start making clear other shared ideas regarding both feeling and their connection with art (Davis, 2017) . If certain feelings like remorse need that the piece of the emotion is thought to occur, although it does not, how could it even be imaginable to feel remorse for an imaginary character which is well known that it nonexistence? Therefore, a task of ultimate significance is to describe the likelihood of emotion in the perspective of people’s contacts with different forms of artworks.
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How are people driven to search for, and find emotional value in interaction with art once much of it entails effective conditions which they generally presume as negative or even painful? If people would instead evade feeling such emotions in the real life, how are they to describe incidences in which they pursue undertakings, like watching movies, watching live football matches on their TV screens, that they know might arouse the same emotions? On the other hand, why are so many individuals enthusiastic about listening to intensely worrying music works when they could not wish to feel this manner in different situations? Are many people guilty of irrational pleasure by liking what makes them feel bad? (Davis, 2017) .Responding to these and associated questions are of great significance if people want to justify the belief those emotions in reaction to art is not just something good to have, but also useful in allowing people in appreciating art and sport art.
That emotion is a key component of people’s dealings with art appears irrefutable. Natural notions concerning emotion, when taken together make it difficult to understand why this notion must be right. When people know of emotion, it is not evident how they would feel sincere emotions toward art. Moreover, when it was likely to find a reasonable concept of emotion which could justify the assertion that people feel real emotions toward art, questions emerge as to why many individuals are inspired to take part in the art, particularly when such tend to generate destructive emotions (Mohammad & Kiritchenko, 2018) . How could the emotion people feel toward art be reasonably vindicated? In general, an appropriate understanding of people’s emotional reactions to art ought to shed light on its importance.
Artworks may be roughly be classified as those who are representational and those which are abstract. Examples of representational artworks are pop music songs, landscape paintings, and fiction. Examples of abstract comprise of expressionist painting as well as works of absolute or instrumental music (Kozina, Iermakov, Kozin, Kozin & Kostyrko, 2016) . Both forms of artworks are usually thought to stimulate emotional responses to people.
Artists produce fascinating images and objects like the ones found on posters, in museums, and public places. The mood is the atmosphere in a sculpture or the feeling it expresses. One of the artists who in his work reflects moods is Henri Fuseli, in his artwork called “The Nightmare, 1781.” In the artwork, there is a woman who is dressed in white, and she lies on a bed. She is sleep and her limp arms sprawl to the floor. A creepy-looking angry creature is sitting in her chest. Further, above her, a ghostlike horse head appears from behind a curtain in the left side of the painting (Davison, 2016) . Apart from the woman, solidified in white as well as other upbeat colors, everything else is shown in dark brown, deep red, and black. People cannot see the background, it is covered in darkness, and people are not sure where the horse or the creature originated. The tone of the painting, created by the contrast between light and dark, is unsettling and mysterious. People may not know what is happening, but they know what is not good. The creature, demonstrated in grays and browns, seems to rest heavily on the chest of the woman, an emotion people sometimes have ones they experience bad dreams (McMillen, McMillen & Mahoney, 2017) . Thus, the tone is overpoweringly dark, and the mood is scary, reflecting nightmares and fears. In this painting, the mood which the artwork reflects is one of disturbing atmosphere or scariness, which shows fears and nightmares.
In conclusion, the relationship between sport and sports art is that sport could be legitimately considered as art. Both sport and art seem to be open concepts in the manner that they are unamenable to an outright definition. Just like any other form of art, sports art depicts visual images of people. The sport art, similar to other forms of art arouses emotions and moods, depending on what the artwork is all about. Overall, emotional responses are frequently considered as the foundation of experiencing art, and the production of emotional experience has been claimed as the aim of any artistic expression. It is the mood of any artistic work which creates the emotions, and these emotions are underpinned by the message which the artist wants to communicate to the audience. Therefore, the major relationship between art and sports art is that their mood evokes emotions to the audience.
References
Davis, P. (2017). Philosophy of Sport: Key Questions.
Davison, M. (2016). Henry Fuseli's The Nightmare: An Examination of the Recent Scholarship (Doctoral dissertation, University of Georgia).
Kozina, Z. L., Iermakov, S. S., Kozin, O. V., Kozin, S. V., & Kostyrko, A. A. (2016). Sport and art as a single manifestation of psychophysical capabilities of man. Health, sport, rehabilitation , 2 (3), 52-59.
McMillen, R., McMillen, J., & Mahoney, M. (2017). The intersection of sport, art, & public disability access: an analysis of best practices.
Mohammad, S., & Kiritchenko, S. (2018). WikiArt Emotions: An Annotated Dataset of Emotions Evoked by Art. In Proceedings of the Eleventh International Conference on Language Resources and Evaluation (LREC-2018) .
