Abstract
In general, art in our time is indifferent to religion or actively opposed to it. Exceptions exist, of course-for example, the biblical subjects of Chagall and Rouault, Manzu's sculptures of popes and cardinals. Yet at least on its surface modern art appears to be more closely allied with science and technology than with sacred images, ideas, or personages. One thinks of half a dozen recent art movements that have drawn con-
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