Theses artists perceived revolutionary leftist politics as the sole hope against abuse and violence. They therefore placed hope in political art as opportunities to bring change. To communicate to masses of people, the artists organized realism, a style that most people preferred and understood (Barber 31).
Some artists such as Diego Rivera used their art to protest social ills. In 1950, Rivera created an artistically huge, multi-layered mural in Mexico City. He drew his ideas from the early colonial manuscripts, Pre-Columbian sculpture, and historical accounts to compose idealistic portraits of utopian Indian traditions, on-going resistance to the dominant Spaniards, and radical assault on imperialist vices. Rivera’s use of new technologies in art was used to protest social evils and had clear appeal to leftist politics, an appeal that expanded to the U.S during the age of depression.
Most of researches from art works indicate that femininity failed to fulfill most of the requirements of traditional art history. In the 19th century, these practical limitations did not affect women as much, but in the early years of the 20th century, women were gradually marginalized from paintings. Women, whose reputed powers were in intuition and emotions as opposed to reason were perceived as incapable of delivering symbolic and intellectual arts properly. History art depends on a clear creation of articulated texts, where texts are clearly employed to meet discursive objectives. Similarly, the temperaments needed of a history artist begun to be gendered as “masculine” thus implying that none of the women artists would have the frame of mind essential to create significant historical art.
Since art displayed and needed judgment and imagination; a couple of components of reason, they were traditionally associated with masculinity. A notion came