The present study investigates the depiction of anger in Western visual art, highlighting the paradox of this emotion: its inherent unpleasantness and repulsiveness versus its artistic representation. The authors examine historical transformations in the expression of anger and the mechanisms that render its depiction effective in art. Despite being a fundamental human emotion encountered from birth, anger is surprisingly scarce in Western visual art. Historical artworks often depict actions resulting from anger rather than capturing its raw emotional expression. Kelly Grovier's essay "Art of Feeling: Why We Should Celebrate Anger" posits that the rarity of anger’s depiction may stem from its classification as a deadly sin by early Christian teachings, which stigmatized the emotion. However, significant works such as Delacroix's "Medea" and Gentileschi's "Judith" juxtapose violent acts with serene facial expressions, underscoring a disconnect between action and emotional display. The repulsiveness and transformative impact of anger on human appearance make it a challenging subject for art. Yet, works like Cabanel's "Fallen Angel" and Gérôme's "Truth Coming Out of Her Well" explore this transformation, employing beauty to attract and distortion to repulse, thereby creating a Medusa-like effect. This duality engages viewers and evokes mixed emotions, which enhances an artwork's impact. Furthermore, anger can drive creative innovation, as demonstrated in works by Munch, Picasso, and Kahlo, where personal and societal grievances fuel artistic expression. However, prolonged anger may lead to destructive creativity, emphasizing the complex role of anger in art and its potential for both innovation and hostility. This multifaceted exploration underscores anger’s unique, albeit limited, place in visual arts and its dual capacity to repel and inspire.