In his essay, entitled "Art," Clive Bell proposes that there is one
             element that coheres all works of art considered great in the world.
             "There must be some one quality without which a work of art cannot exist;
             possessing which, in the least degree, no work is altogether worthless.
             What is this quality'" In other words, Bell accepts that there must be
             some aesthetic standards by which to judge all works of art. However, Bell
             acknowledges that the body of art produced in and by the world's artists is
             multifaceted in its character, depending on the era when it was produced,
             the artist who produced it, and the medium in which it was produced.
             Early on in his essay, Bell states that to define the core query
             behind all of art criticism is to ask, "What quality is shared by all
             objects that provoke our aesthetic emotions'" It is not enough to say that
             adherence to reality or beauty is the standard, otherwise a functional
             Persian bowl might be ranked above a masterpiece of fruit in a bowl painted
             by Cézanne. Bell states, "only one answer seems possible - significant
             form. In each, lines and colors combined in a particular way, certain forms
             and relations of forms, stir our aesthetic emotions."
             Thus, although the use of the term significant form' might on its
             surface to suggest that the standards Bell judges works of art by are quite
             standardized. But really, what "significant form" means is the visceral
             yet aesthetic impression that a work of art is apt to have upon a gazer.
             This is why, for Bell, "people who respond immediately and surely to works
             of artâ€in my judgment, [are] more enviable than men of massive intellect
             [who are] are often quite as incapable of talking sense about aesthetics."
             Bell defends the common gazer, in essence, who looks upon a piece of art
             and intuitively responds to its construction. For instance, Bell might say
             that the p...