ABSTRACT
The problem of expression in art can be succinctly described as something of a paradox; the shroud of mystery covering the word "expression" in the philosophy of art comes from the conceptual collision. The problem is a function, of course, of the obvious metaphysical incompatibility of inward emotions and outward objects. The ontological problem itself, as the paradoxical source of philosophical mystery surrounding artistic expression and as the governing question beneath expression theories of art, is clear, as is an underlying dependence upon the metaphysical dualism dividing mind and matter. Picasso's Guernica provides a classic case that directly contradicts the theoretical prohibition. It indisputably expresses Picasso's rage at, and the horror of, Franco's inhuman experiment in saturation bombing. This is the dual-model theory of artistic expression in another form. The artist has both an outward and inward model. Picasso works from both the scene depicted and the feeling generated by that scene.
