3. Goals
• Understand the impact of war and economic instability as
catalysts for change in art.
• Understand the development of Modernism in the early 20th
century.
• Understand the rejection of representational art and pictorial
illusionism in favor of abstraction and spatial distortion.
• Define primitivism and explain why it appealed to modern
European artists
• Recall major artistic movements, their stylistic features, and the
goals/objectives behind these movements
• Understand the chronological placement of artistic movements
and how some movements influenced others
• Recognize important artists and works of art of the early 20th
century
3
4. 35.1 Europe, 1900 to 1920
• Understand the evolution of Modernism and the
growth of the avant-garde in the early 20th century.
• Examine the color and space issues of Fauvism.
• Examine the styles of the German Expressionists – Die
Brucke and Der Blaue Reiter.
• Define primitivism and comprehend its affect on
certain 20th century artists
• Understand the evolution of Cubism and differentiate
between Analytic Cubism and Synthetic Cubism
4
5. The Art of the Fauves
• Explore the Fauves’ interest in color and in the altering of
space.
• Recall that the art of the Fauves first gained attention at the
Salon d’Automne of 1905
• Recall that Henri Matisse and Andre Derain were Fauvists
5
6. HENRI MATISSE, Woman with the Hat, 1905.
Oil on canvas, 2’ 7 ¾” X 1’ 11 ½”. San
Francisco Museum of Modern Art., San
Francisco (bequest of Elise S. Haas).
6
7. HENRI MATISSE, Le Bonheur de Vivre (The Joy of Life), 1905–1906. Oil on canvas, 5’ 8 1/2" X 7’ 9 3/4”.
The Barnes Foundation, Merion.
7
8. HENRI MATISSE, Red Room (Harmony in Red), 1908–1909. Oil on canvas, 5’ 11” x 8’ 1”.
State Hermitage Museum, Saint Petersburg. 8
9. ANDRÉ DERAIN, The Dance, 1906. Oil on canvas, 6’ 7/8” x 6’ 10 1/4”. Fridart Foundation, London.
9
10. ANDRÉ DERAIN, Mountains at Collioure, 1905. Oil on canvas, 2’ 8" X 3’ 3 1/2”. National Gallery of Art,
Washington, D.C. (John Hay Whitney Collection).
10
11. The German Expressionists
• Examine the styles of the German Expressionists, especially
Die Brucke and Der Blaue Reiter.
• Analyze the use of line, color, space, and emotion in the
work of the German Expressionists.
• Understand the various influences on the work of the
German Expressionists.
11
12. ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated 1907). Oil on canvas, 4’ 11 1/4” x 6’ 6 7/8”.
Museum of Modern Art, New York.
12
13. EMIL NOLDE, Saint Mary of Egypt among Sinners, 1912. Left panel of a triptych, oil on canvas,
approx. 2’ 10” x 3’ 3”. Hamburger Kunsthalle, Hamburg.
13
14. EMIL NOLDE, Masks, 1911. Oil on canvas, 2’ 4 3/4" X 2’ 6 1/2”.
Nelson-Atkins Museum of Art, Kansas City (gift of the Friends of Art).
14
15. VASSILY KANDINSKY, Improvisation 28 (second version), 1912. Oil on canvas, 3’ 7 7/8” x 5’ 3 7/8”.
Solomon R. Guggenheim Museum, New York (gift of Solomon R. Guggenheim, 1937). 15
16. FRANZ MARC, Fate of the Animals, 1913. Oil on canvas, 6’ 4 3/4” x 8’ 9 1/2”. Kunstmuseum, Basel.
16
17. Evolution of Cubism
• Understand Pablo Picasso’s development as an artist up to the
seminal works that preceded his Cubist work
• Identify Gertrude Stein and her contributions to avant-garde
artists like Picasso and Matisse
• Realize that Pablo Picasso and Georges Braque collaborated in
the development of Cubism
• Understand primitivism and recognize its influence on Picasso
• Analyze Cubist use of line and shape as well as space and color
• Differentiate between Analytic and Synthetic Cubism
• Recognize other Cubist artists including Cubist sculptors
• Understand the meaning of Purism
17
18. PABLO PICASSO, Gertrude Stein, 1906–
1907. Oil on canvas, 3’ 3 3/8” x 2’ 8”.
Metropolitan Museum of Art, New York
(bequest of Gertrude Stein, 1947).
18
19. PABLO PICASSO, Family of Saltimbanques, 1905. Oil on canvas, 6’ 11 3/4" X 7’ 6 3/8”.
National Gallery of Art, Washington, D.C. (Chester Dale Collection).
19
20. PABLO PICASSO, Les
Demoiselles d’Avignon, 1907.
Oil on canvas, 8’ x 7’ 8”.
Museum of Modern Art,
New York (acquired
through the Lillie P. Bliss
Bequest).
20
21. Frank Gelett Burgess, Pablo Picasso in his studio, Paris, France, 1908. Collection of the Musee Picasso, Paris.
21
22. GEORGES BRAQUE, The Portuguese, 1911. Oil on
canvas, 3’ 10 1/8” x 2’ 8”. Kunstmuseum, Basel (gift
of Raoul La Roche, 1952).
22
23. ROBERT DELAUNAY, Champs de Mars or
The Red Tower, 1911. Oil on canvas, 5’ 3” x 4’
3”. Art Institute of Chicago, Chicago.
23
24. PABLO PICASSO, Still Life with Chair-Caning, 1912. Oil and oilcloth on canvas, 10 5/8” x 1’ 1 3/4”. Musée Picasso, Paris.
24
25. GEORGES BRAQUE, Bottle, Newspaper, Pipe and Glass, 1913. Charcoal and various papers pasted on paper,
1’ 6 7/8” x 2’ 1 1/4”. Private collection, New York.
25
26. PABLO PICASSO, maquette for Guitar,
1912. Cardboard, string, and wire
(restored), 1’ 1 1/4” x 1” x 7 1/2”.
Museum of Modern Art, New York.
26
27. PABLO PICASSO, Three Musicians, 1921. Oil on canvas, 6’ 7" X 7’ 3 3/4”.
Museum of Modern Art, New York (Mrs. Simon Guggenheim Fund).
27
28. PABLO PICASSO, Guernica, 1937. Oil on canvas, 11’ 5 1/2” x 25’ 5 3/4”. Museo Nacional Centro de Arte Reina Sofia, Madrid.
28
29. JACQUES LIPCHITZ, Bather, 1917. Bronze, 2’ 10 3/4” x 1’ 1 1/4” x 1’ 1”.
Nelson-Atkins Museum of Art, Kansas City (gift of the Friends of Art).
29
30. ALEKSANDR ARCHIPENKO, Woman Combing Her Hair, 1915. Bronze, 1’ 1 3/4” x
3 1/4” x 3 1/8”. Museum of Modern Art, New York (acquired through the Lillie P.
Bliss Bequest).
30
31. JULIO GONZÁLEZ, Woman Combing Her Hair, ca. 1936.
Iron, 4’ 4” x 1’ 11 1/2” x 2’ 5/8”. Museum of Modern
Art, New York (Mrs. Simon Guggenheim Fund).
31
32. FERNAND LÉGER, The City, 1919. Oil on canvas, 7’ 7” x 9’ 9 1/2”. Philadelphia Museum of Art, Philadelphia (A. E.
Gallatin Collection).
32
33. FERNAND LÉGER, Three Women (Le Grand Déjeuner), 1921. Oil on canvas, 6’ 1/4" X 8’ 3”.
Museum of Modern Art, New York (Mrs. Simon Guggenheim Fund).
33
34. Futurism
• Explain the goals/objectives of the Futurists
• Identify Futurist artists
• Analyze Futurist works of art in terms of line, color, and space
• Make comparisons between Futurism and other artistic
movements
• Understand the chronological placement of Futurism
34
35. GIACOMO BALLA, Dynamism of a Dog on a Leash, 1912. Oil on canvas, 2’ 11 3/8” x 3’ 7 1/4”. Albright-Knox
Art Gallery, Buffalo, New York (bequest of A. Conger Goodyear, gift of George F. Goodyear, 1964).
35
36. UMBERTO BOCCIONI, Unique Forms of
Continuity in Space, 1913 (cast 1931).
Bronze, 3’ 7 7/8” x 2’ 10 7/8” x 1’ 3
3/4”. Museum of Modern Art, New York
(acquired through the Lillie P. Bliss
Bequest).
36
37. GINO SEVERINI, Armored Train, 1915.
Oil on canvas, 3’ 10” x 2’ 10 1/8”.
Collection of Richard S. Zeisler, New York.
37
38. Dada
• Understand the influence of the Dada movement with its
emphasis on spontaneity and intuition.
• Understand the issues of anarchy and chance as they apply to
form and content in visual art.
• Recognize the rejection of convention in Dada and its
reaction to world events.
• Appreciate the impact of Dada on the development of 20th
and 21st century art
• Identify Dada artists
38
39. JEAN (HANS) ARP, Collage Arranged According to the
Laws of Chance, 1916–1917.
Torn and pasted paper, 1’ 7 1/8” x 1’ 1 5/8”.
Museum of Modern Art, New York.
39
40. Figure 35-27 MARCEL DUCHAMP, Fountain, (second version), 1950 (original version produced 1917). Readymade
glazed sanitary china with black paint, 1’ high. Philadelphia Museum of Art, Philadelphia.
40
41. 35-27A MARCEL DUCHAMP, L.H.O.O.Q., 1919.
Pencil on paper color reproduction of Leonardo da
Vinci’s Mona Lisa (FIG. 22-5), 7 3/4" X 4 7/8”.
Philadelphia Museum of Art, Philadelphia (Louise and
Walter Arensberg Collection).
41
42. Figure 35-28 MARCEL DUCHAMP, The Bride Stripped
Bare by Her Bachelors, Even (The Large Glass), 1915-23. Oil,
lead, wire, foil, dust, and varnish on glass, 9’ 1 1/2” x 5’ 9
1/8”. Philadelphia Museum of Art, Philadelphia (Katherine
S. Dreier Bequest).
42
43. Figure 35-29 HANNAH HÖCH, Cut with
the Kitchen Knife Dada through the Last Weimar
Beer Belly Cultural Epoch of Germany, 1919–
1920. Photomontage, 3’ 9” x 2’ 11 1/2”.
Neue Nationalgalerie, Staatliche Museen zu
Berlin, Berlin.
43
44. Figure 35-30 KURT SCHWITTERS, Merz
19, 1920. Paper collage, 7 1/4” x 5 7/8”. Yale
University Art Gallery, New Haven, (gift of
Collection Société Anonyme).
44
45. 35.2 America, 1900 to 1930
• Understand the gradual development of modernist art in
America
• Understand the significance of the Armory Show of 1913
• Recognize the work of major American artists of the first half of
the 20th century and describe their artistic goals/objectives
• Examine the diverse artistic techniques, media, and approaches
to line, color, and space taken by these American artists
45
46. Figure 35-31 JOHN SLOAN, Sixth Avenue and Thirtieth Street, New York City, 1907, 1909. Oil on canvas, 2’ 1/4” x 2’ 8”.
Philadelphia Museum of Art, Philadelphia (gift of Meyer P. Potamkin and Vivian O. Potamkin, 2000).
46
47. The Remarkable Armory Show
• Examine the art and artists of the influential Armory Show.
47
48. Figure 35-32 Installation photo of the Armory Show, New York National Guard’s 69th Regiment, New York, 1913.
Museum of Modern Art, New York.
48
49. Figure 35-1 MARCEL DUCHAMP, Nude Descending a
Staircase, No. 2, 1912. Oil on canvas, 4’ 10 “x 2’ 11”.
Philadelphia Museum of Art, Philadelphia (Louise and Walter
Arensberg Collection).
49
50. Figure 35-39 ALFRED STIEGLITZ, The
Steerage, 1907 (print 1915). Photogravure
(on tissue), 1’ 3/8” x 10 1/8”. Courtesy of
Amon Carter Museum, Fort Worth.
50
51. 35-39A ALFRED STIEGLITZ,
Equivalent, 1923. Gelatin silver print, 4
5/8" X 3 5/8”. Art Institute of Chicago,
Chicago (Alfred Stieglitz Collection).
51
52. Figure 35-40 EDWARD WESTON, Nude, 1925. Platinum print, 7 1/2” x 9 1/2”. Center for Creative Photography,
University of Arizona, Tucson.
52
53. 35-40A EDWARD WESTON, Pepper
No. 30, 1930. Gelatin silver print, 9 1/2"
X 7 1/2”. Yale University Art Gallery,
New Haven (gift of David H. McAlpin).
53
54. American Art Forms
• Examine the distinctive American art forms seem in
photography, art of the Harlem Renaissance, and precisionist
forms of Cubism.
54
55. Figure 35-33 MAN RAY, Cadeau (Gift), ca. 1958
(replica of 1921 original). Painted flatiron with row
of 13 tacks with heads glued to the bottom, 6 1/8”
x 3 5/8” x 4 1/2”. Museum of Modern Art, New
York (James Thrall Soby Fund).
55
56. Figure 35-34 MARSDEN HARTLEY, Portrait of a German
Officer, 1914. Oil on canvas, 5' 8 1/4” x 3' 5 3/8”.
Metropolitan Museum of Art, New York (Alfred Stieglitz
Collection).
56
57. 35-34A ARTHUR DOVE, Nature Symbolized No. 2, ca. 1911. Pastel on paper, 1’ 6" X 1’ 9 5/8”. Art Institute of Chicago,
Chicago (Alfred Stieglitz Collection).
57
59. Figure 35-36 AARON DOUGLAS, Noah’s Ark,
ca. 1927. Oil on masonite, 4’ x 3’. Fisk University
Galleries, University of Tennessee, Nashville.
59
60. 35-36A AARON DOUGLAS, From Slavery through Reconstruction, from Aspects of Negro Life, 1934. Oil on canvas, 5’ X 11’ 7”.
Schomburg Center for Research in Black Culture, New York Public Library, New York.
60
61. Figure 35-37 CHARLES DEMUTH,
My Egypt, 1927. Oil on composition
board, 2’ 11 3/4” x 2’ 6”. Collection of
Whitney Museum of American Art, New
York (purchased with funds from
Gertrude Vanderbilt Whitney).
61
62. Figure 35-38 GEORGIA O’KEEFFE, New York, Night, 1929. Oil on
canvas, 3’ 4 1/8” x 1’ 7 1/8”. Sheldon Memorial Art Gallery, Lincoln,
(Nebraska Art Association, Thomas C. Woods Memorial Collection).
62
63. 35.3 Europe, 1920 to 1945
• Understand the intense realistic post-war expressionism of
German artists.
• Understand the European post-war malaise and the
importance of cathartic subject matter in Expressionist art.
• Examine the origins, development, methods and content of
Surrealism and Fantasy art.
63
66. Figure 35-43 MAX BECKMANN, Night, 1918–1919. Oil on canvas, 4’ 4 3/8” x 5’ 1/4”. Kunstsammlung Nordrhein-
Westfalen, Düsseldorf.
66
67. Figure 35-44 OTTO DIX, Der Krieg (The War), 1929–1932. Oil and tempera on wood, 6’ 8 1/3” x 13’ 4 3/4”. Staatliche
Kunstsammlungen, Gemäldegalerie Neue Meister, Dresden.
67
68. Figure 35-9 KATHE KOLLWITZ, Woman with Dead Child, 1903. Etching and soft-ground etching,
overprinted lithographically with a gold tone plate, 1’ 4 5/8” X 1’ 7 1/8”. British Museum, London.
68
69. 35-9A PAULA MODERSOHN-BECKER, Self-Portrait with Amber Necklace, 1906. Oil on canvas, 2’ X 1’ 7 3/4”. Kunstmuseum Basel, Basel.
69
70. Figure 35-10 WILHELM LEHMBRUCK, Seated Youth, 1917. Composite tinted plaster, 3’ 4 5/8” x 2’ 6” x 3’ 9”. National
Gallery of Art, Washington, D.C. (Andrew W. Mellon Fund).
70
71. 35-10A EGON SCHIELE, Nude Self-Portrait,
Grimacing, 1910. Gouache, watercolor, and pencil on
paper, 1’ 10” X 1’ 2 3/8”. Albertina, Vienna.
71
72. Figure 35-45 ERNST BARLACH, War Monument,
Cathedral, Güstrow, Germany, 1927. Bronze.
72
73. Surrealism
• Examine the development, methods and content of
Surrealism.
• Identify Surrealist artists.
• Realize that the Surrealists were influenced by Dada
73
74. Figure 35-46 GIORGIO DE
CHIRICO, Melancholy and Mystery of a
Street, 1914. Oil on canvas, 2’ 10 1/4” x 2’
4 1/2”. Private collection.
74
75. Figure 35-47 MAX ERNST, Two
Children Are Threatened by a
Nightingale, 1924. Oil on wood with
wood construction, 2’ 3 1/2” x 1’ 10
1/2” x 4 1/2”. Museum of Modern
Art, New York.
75
76. Figure 35-48 Adolf Hitler, accompanied by Nazi commission members, viewing the Entartete Kunst show on
July 16, 1937.
76
77. Figure 35-49 SALVADOR DALÍ, The Persistence of Memory, 1931. Oil on canvas, 9 1/2” x 1’ 1”. Museum of Modern Art,
New York.
77
78. Figure 35-50 RENÉ MAGRITTE, The Treachery (or Perfidy) of Images, 1928–1929. Oil on canvas, 1’ 11 5/8” x 3’ 1”. Los
Angeles County Museum of Art, Los Angeles (purchased with funds provided by the Mr. and Mrs. William Preston
Harrison Collection). 78
79. 35-50A RENÉ MAGRITTE, The False Mirror, 1928. Oil on canvas, 1’ 9 1/4" X 2’ 7 7/8”. Museum of Modern Art, New York.
79
80. Figure 35-51 MERET OPPENHEIM, Object (Le Déjeuner en fourrure), 1936. Fur-covered cup, 4 3/8” diameter; saucer, 9
3/8” diameter; spoon, 8” long. Museum of Modern Art, New York.
80
81. Figure 35-52 JOAN MIRÓ, Painting, 1933. 5’ 8” x 6’ 5”. Museum of Modern Art, New York (Loula D. Lasker Bequest by
exchange).
81
82. Figure 35-53 PAUL KLEE, Twittering Machine,
1922. Watercolor and pen and ink, on oil transfer
drawing on paper, mounted on cardboard, 2’ 1” x
1’ 7”. Museum of Modern Art, New York.
82
83. The Utopian Styles
• Examine the forms and utopian notions in Suprematism,
Constructivism, and in De Stijl.
83
84. Figure 35-54 KAZIMIR
MALEVICH, Suprematist Composition:
Airplane Flying, 1915 (dated 1914). Oil
on canvas, 1’ 10 7/8” x 1’ 7”. Museum
of Modern Art, New York.
84
88. Figure 35-57 CONSTANTIN BRANCUSI, Bird in Space, 1928. Bronze,
4’ 2 5/16” high. Philadelphia Museum of Art, Philadelphia (Louise and
Walter Arensberg Collection, 1950).
88
89. 35-57A CONSTANTIN BRANCUSI, The Newborn, 1915. Marble, 5 3/4" X 8 1/4” X 5 7/8”. Philadelphia Museum of Art,
Philadelphia (Louise and Walter Arensberg Collection).
89
90. Figure 35-58 BARBARA HEPWORTH, Oval Sculpture (No. 2), 1943. Plaster cast, 11 1/4” x 16 1/4” x 10”. Tate Gallery,
London.
90
91. Figure 35-59 HENRY MOORE, Reclining Figure, 1939. Elm wood, 3’ 1” x 6’ 7” x 2’ 6”. Detroit Institute of Arts, Detroit
(Founders Society purchase with funds from the Dexter M. Ferry, Jr. Trustee Corporation).
91
93. 35.4 America, 1930 to 1945
• Understand issues of rebellion and the depiction of social
injustice in art.
• Recognize that American artists had different goals in their art
and these goals affected the formal qualities of their work
• Examine the art of the Depression, the depiction of displaced
workers, poverty and urban isolation, along with the beginnings
of government support for art in the WPA programs.
• Examine the political content and form of art resulting from
African American migration in the United States.
• Understand the themes of Regionalism in American art.
93
94. Figure 35-61 ALEXANDER CALDER, Lobster Trap and Fish Tail, 1939. Painted sheet aluminum and steel
wire. 8’ 6” X 9’ 6”. Museum of Modern Art, New York.
94
95. Figure 35-62 DOROTHEA LANGE,
Migrant Mother, Nipomo Valley, 1935. Gelatin
silver print. 1’ 1” x 9”. Oakland Museum
of California, Oakland (gift of Paul
S.Taylor)
95
96. 35-62A MARGARET BOURKE-WHITE, Fort Peck Dam, Montana, 1936. Gelatin silver print, 1’ 1" X 10 1/2”. Metropolitan
Museum of Art, New York (gift of Ford Motor Company and John C. Waddell, 1987).
96
97. Figure 35-63 EDWARD HOPPER, Nighthawks, 1942. Oil on canvas, 2’ 6” x 4’ 8 11/16”. The Art Institute of Chicago,
Chicago (Friends of American Art Collection).
97
98. Figure 35-64 JACOB LAWRENCE, No. 49 from The
Migration of the Negro, 1940–1941. Tempera on masonite,
1’ 6” x 1’. The Phillips Collection, Washington, D.C.
98
99. Documenting Lives in Art
• Examine the political content of art resulting from African
American migration along with the themes of Regionalism.
99
102. 20th Century Mexican Artists
• Examine the art of the Mexican painters along with their
mediums, techniques, and methods.
• Understand how Mexican artists incorporated political
statements into their work through their choice of subject
matter and formal elements
102
104. 35-67A RUFINO TAMAYO, Friend of the Birds, 1944. Oil on canvas, 2’ 8 1/2" X 3’ 7 1/2". Los Angeles County Museum of Art,
Los Angeles (Bernard and Edith Lewis Collection of Mexican Art).
104
105. Figure 35-68 DIEGO RIVERA, Ancient Mexico, from the History of Mexico fresco, National Palace, Mexico City, 1929–
1935. Fresco.
105
106. Figure 35-69 FRIDA
KAHLO, The Two
Fridas, 1939. Oil on
canvas, 5’ 7” x 5’ 7”.
Museo de Arte
Moderno, Mexico City.
106
107. 35.5 Architecture
• Understand variables that affected the development of 20th
century architecture such as building materials, political and
cultural events, developments in avant-garde art, as well as
the personal desire for recognition
• Examine the forms of Modernist designs and architecture of
the Bauhaus and in the International Style.
• Recall the work of famous architects and their
goals/objectives
107
108. New Art for a New Society
• Understand the early 20th century belief that art could
contribute to improving society.
• Examine the International Style in architecture and the
concept of modernism in architecture.
• Understand the geometric forms of Art Deco and Modern
Sculpture.
• Understand the desire for natural and organic forms in
sculpture and architecture.
108
109. Figure 35-70 Vladimir Tatlin, Monument to the
Third International, 1919–1920. Reconstruction of
the lost model, 1992–1993. Kunsthalle,
Düsseldorf.
109
110. Figure 35-71 GERRIT THOMAS RIETVELD, Schröder House, Utrecht, the Netherlands, 1924.
110
111. Figure 35-72 WALTER GROPIUS, Shop Block, the Bauhaus, Dessau, Germany, 1925–1926.
111
112. 35-72A ADOLF LOOS, garden facade of the Steiner House, Vienna, Austria, 1910.
112
113. Figure 35-73 MARCEL BREUER, Wassily chair, 1925. Chrome-plated tubular steel and canvas, 2’ 4
1/4” x 2’ 6 3/4” x 2’ 4”. Museum of Modern Art, New York (gift of Herbert Bayer). 113
114. 35-73A GUNTA STÖLZL, Gobelin tapestry,
1927–1928. Cotton, silk, and linen, 4’ 11 1/8” X
3’ 7 1/4". Bauhaus-Archiv Museum für
Gestaltung, Berlin.
114
115. Figure 35-74 LUDWIG MIES VAN DER ROHE, model for
a glass skyscraper, Berlin, Germany, 1922 (no longer extant).
115
116. Figure 35-75 LE CORBUSIER, Villa Savoye, Poissy-sur-Seine, France, 1929.
116
117. Figure 35-76 WILLIAM VAN ALEN, Chrysler
Building, New York, New York, 1928–1930.
117
118. Natural and Organic Forms
• Understand the desire for natural and organic forms in
sculpture and architecture.
• Identify the goals of Frank Lloyd Wright and how they
affected his designs
118
121. Figure 35-79 FRANK LLOYD WRIGHT, Kaufmann House (Fallingwater), Bear Run, Pennsylvania, 1936–1939.
121
122. Discussion Questions
What caused artists in the early 20th century to reject
observational naturalism in art?
How did Cubism influence other art styles in the early 20th
century?
Why is art a powerful means for the expression of
sociopolitical concerns?
122
