She could imagine a master at painting, one who had painted thousands and thousands of mountains, angrily staring at a blank piece of paper, ready to vent his emotions out. His work would be messy— the sort of disorganization that came from a mind of anger. While the second painting could not invoke any emotions from the viewer, the third painting would make the audience realize the rage of the painter, to experience his fury along with the violent splatters and strokes of his brush.
