Cynthia Freeland argues that art communicates meaning but there is no precise hypothetical approach that tells us how to best interpret a work of art. While there are better interpretations of one work of art than others, there is no single way to interpret a single work of art. The best interpretations understand the artist's background while also focusing on the style he uses. The emotions and ideas that arise when looking at a work of art can come from the artist's point of view or from that of the viewer. When understanding expressionist theory we can look at Freeland's definition: “expression theory holds that art communicates something in the realm of feelings and emotions” (Freeland, 155). In a broader sense, art conveys feelings – such as power, sacred, etc. – and emotions – love, hate, fear, etc. I will argue that by looking at Hugh Hefner's portrait through three different lenses, we can gain a better understanding of expressionist theory but that feelings and emotions are not the only aspect that art communicates. If we look at art through Tolstoy's framework, we see that there are many conscious feelings that arise when we look at works of art; this is especially evident when we look at the portrait of Hugh Hefner. The viewer can see that the intentions of Art Shay, the photographer of Hugh Hefner's portrait, are to show Hugh Heffner in his element, surrounded by his work, that is, women. When the viewer first examines this portrait before looking at the name, the male in the front empowers and overshadows the women in the background. Tolstoy's conscious structure allows the viewer to understand what he voluntarily feels when looking at a portrait. In this case, the viewer would see five different figures... in the center of the paper... and feelings and would review them saying that "art can express or convey ideas as well as feelings" (Freeland, 160). Langer's argument that there is no fine line between communicating emotions and ideas contrasts with Tolstoy and Freud's assertion that art expresses conscious and unconscious emotions. Since Tolstoy and Freud's discussion with art communicates unconscious and conscious emotions and feelings, it is reasonable to assume that a work of art can be interpreted through feelings and emotions that the viewer or artist did not even know they had. try. However, as I have argued, we cannot prevent art from expressing ideas to the viewer. Therefore, Freud and Tolstoy's description of expressionist theory falls short of what expressionist theory actually is: "feelings and emotions, or thoughts and ideas" (Freeland, 149) that art communicates to the viewer..