1
30
10
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http://humanitiesmoments.org/files/original/543/Van_Gogh_HM.jpg
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Impressionist painting
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impressionist-painting
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Van Gogh and Me
Description
An account of the resource
Last November my grandmother was visiting and wanted to do something fun. Instead of fun, my mother dragged us to the traveling “Beyond Van Gogh” exhibit that was in Salt Lake City at the time. As we entered this big warehouse where the exhibit was located, my fears seemed to be confirmed. I walked along a winding path with backlit, large-canvas reproductions of Van Gogh’s paintings with excerpts of letters written between Vincent Van Gogh and his brother Theo written over top of the paintings. For me, because I have a visual field cut and other sensory processing issues, it was painful and overwhelming to look at. The backlighting of the artwork made every detail pop and screamed for my attention. So everything smeared together and my brain could not process anything. I did everything I could to avert my eyes as I felt myself slowly becoming overwhelmed and on the verge of melting down.
I did notice that not everything in this room was yelling at me. In between these paintings, there were various empty picture frames invisibly suspended from the ceiling. As people, including myself, walked by, we all became the subjects. I became part of the artwork for a fleeting moment as I was framed within the borders. Then, once I turned the last corner, I entered a dark room with projections of moving color on the wall and floor. I went from being the one who moved around stationary pieces of art into a stationary person watching as the brushstrokes of color and light moved around me and swallowed me whole. As my mind and senses adjusted to this new reality, I entered a huge warehouse-sized room, projections of Van Gogh's work enveloped me on all sides. I was completely immersed in all the colors and details. Music written about Van Gogh or his works was gently playing in the background. For me, it was like a reverse fishbowl effect. Instead of feeling alone and exposed while something stared at me, I was a natural being that was happily swimming amidst the wonder around me. As I watched colors and paint strokes slowly morphing one painting turned into another, for the first time, art moved me in ways I never experienced before. By magnifying details that I would never normally see, I finally understood why art is so powerful. I watched his artistic process from start to finish as sketches were recreated and deconstructed before my eyes. I did not know about his work as a portrait painter, but seeing his side-by-side gallery of his many subjects, including himself, showed such an incredible imagination. This was the first time that I felt art really move me. Van Gogh’s artwork is so powerful and now I understand why his work lives on today. Visiting the “Beyond Van Gogh” exhibit has made me rethink what is possible. Please do not tell my mom that she was right and that I had so much more than fun.
Works Cited: “The Immersive Experience .” Beyond Van Gogh Salt Lake City, 2 Dec. 2021, vangoghsaltlake.com/.
Source
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"Beyond Van Gogh" traveling art exhibit
Date
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November 2021
Identifier
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van-gogh-and-me
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Julia Reardon, Mountain Heights Academy, Utah
Aesthetics
Art
Art Exhibitions
Cultural Awareness
Emotional Experience
Family
Museum
Painters
Paintings
van Gogh, Vincent
-
http://humanitiesmoments.org/files/original/293/William-Adolphe_Bouguereau_[1825-1905]_-_The_Remorse_of_Orestes_[1862].jpg
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The Remorse of Orestes by William-Adolphe Bouguereau (1862)
Source
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Wikimedia Commons: https://commons.wikimedia.org/wiki/File:William-Adolphe_Bouguereau_(1825-1905)_-_The_Remorse_of_Orestes_(1862).jpg
Moving Image
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<iframe width="640" height="480" allowfullscreen="allowfullscreen" allow="autoplay; fullscreen" frameborder="0" src="https://player.vimeo.com/video/339408443"></iframe>
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The Power of Mythological Thinking
Description
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As a teacher of classical mythology, Poliakoff explains that the challenge he presents to his students—and that myths present to contemporary readers—is to understand how such ancient stories transcend their particular contexts to embody universal lessons which can be translated across cultures and history. By using classical mythology both to understand our origins and to clarify the truths of our current experiences, he suggests that we can learn how to live in a way that opposes tyranny and connects us to others.
Source
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“<span>An Afternoon of Actaeon</span>,” by Milet Andrejevic; <em>The Oresteia</em> by Aeschylus
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Michael Poliakoff, president of the American Council of Trustees and Alumni
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michael-poliakoff-mythology
Aeschylus
An Afternoon of Actaeon
Andrejevic, Milet
Metamorphoses
Mythology
Ovid
Paintings
Teachers & Teaching
The Oresteia
-
http://humanitiesmoments.org/files/original/288/Unknown.jpeg
9bdcddc1cc20ad523fa8e70fa4caefa3
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Dead Bird, a painting by Albert Pinkham Ryder (1890s)
Source
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Wikimedia Commons, https://commons.wikimedia.org/wiki/File:Albert_Pinkham_Ryder_-_Dead_Bird_-_Google_Art_Project.jpg
Moving Image
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<iframe width="560" height="315" src="https://www.youtube.com/embed/WviLHipxiuM" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="allowfullscreen"></iframe>
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Beyond Despair environmental humanities conference
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From Aesthetic Shock to Ethical Awakening: How an Environmental Artist and Activist Found Purpose
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Subhankar Banerjee, environmental activist, photographer, and professor at the University of New Mexico
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subhankar-banerjee-aesthetics-ethics
Description
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Environmental activist, photographer, and teacher Subhankar Banerjee recounts a time, shortly after moving to New Mexico, when he walked out of his house to encounter a small dead bird lying motionless on the porch. This humble, private moment of grief, confusion, and aesthetic complexity echoed the sensations he had previously felt while viewing Albert Pinkham Ryder’s 19th-century painting “The Dead Bird.” As Banerjee’s career has evolved to address the large-scale crisis of global biological annihilation, he still emphasizes that this small interaction between the human and non-human affected him profoundly and set him on a lifelong ethical journey.
Aesthetics
Art Museums
Dead Bird
Death
Environmental Justice
Ethics
Paintings
Photography
Ryder, Albert Pinkham
Santa Fe, New Mexico
The Phillips Collection
Washington, D.C.
-
http://humanitiesmoments.org/files/original/282/4912901360_c4971a58e6_o.jpg
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Title
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The Starry Night by Vincent Van Gogh
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School
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Sydnie, 18, Student
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2010/2011
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<em>The Starry Night</em> by Vincent van Gogh
Description
An account of the resource
My humanities moment took place over a few years. It all started one day when I was in the 4th grade. This was one of my favorite days in elementary school because we had an assembly that day. That meant that after lunch recess we got to do something fun instead of doing math or history or science or something else that was uncolorful and boring. I was really excited to find out that it was an art assemble, which meant that afterwards we would get to paint or draw for the rest of the day. Taped all over the walls of our gym were many colorful, bright, and interesting paintings. When we were all seated on the floor I was able to get a better view of the paintings on my side of the wall. It was very interesting to look back and forth between the different sides of the gym. On the far side the paintings looked just like standard paintings but on the side near to me I could see all the little details. <br /><br />The art teacher went on to explain why the paintings looked different from a distance. These were some of Vincent van Gogh’s most famous paintings and that he used a very unique style and technique. She explained that he is best known for his use of pointillism. This means that he painted using thousands of dots or strokes to create a very detailed and bright picture. My favorite picture that she showed us was of a little town at night. It had blue rolling hills and a swirly starry sky. <br /><br />After learning about his style and looking at more of his paintings we went back to our class and got to try out painting like him. I had so much fun learning about and painting in Van Gogh’s unique style. It was by far my most favorite assembly. In middle school I kept seeing the painting with the swirly night sky and so I decided to look more into Vincent van Gogh’s life. He was born on March 30, 1853 in Zundert, Netherlands to Theodorus van Gogh and Anna Carbentus. Van Gogh was introduced to art very early in life when he worked with his uncle as an art dealer. During his early adulthood he had trouble figuring out his purpose in life. He worked many jobs trying to figure this out; he worked as an art dealer, a bookseller, and even became a preacher at one point. On his preaching mission in Borinage, Belgium, a mining region, he would give Bible readings to the locals. While this was all happening he would write to his brother, Theo, about his journeys. In these letters he would draw little sketches and drawings of what he saw. Which caused Theo to advise him to pursue his passion for art. Van Gogh agreed and soon got art lessons from Anton Mauve. Since Van Gogh didn't have a paying job anymore, Theo would send him money. Later in his painting career, as compensation for Theo taking care of him, he would give Theo some of his paintings to sell. Vincent van Gogh’s mental health fluctuate all throughout his life. He began a relationship with a former prostitute Sien Hoornik. Together they rented a studio where they lived along with her baby and five year old daughter. The relationship broke off and Van Gogh moved to Arles, Paris to focus on his art. There he rented one of his rooms to fellow artist Paul Gauguin. Paul and him had very different art styles and would often get into heated arguments with one another. This along with the stress of his painting career being unsuccessful caused his mental health to deteriorate. At its worst, he cut off his ear then gave it to a prostitute wrapped in a newspaper. After his recovery in the hospital he went back home to paint. Then feeling his mental health declining again he admitted himself to the psychiatric hospital in Saint-Rémy. While there he experienced a period of extreme confusion and ate oil paint. It was at this asylum that Vincent van Gogh painted The Starry Night, the swirly painting that I had liked so much. With everything becoming too much, on July 27, 1890 Van Gogh shot himself in the chest. He was able to walk back to his house and was found, but it was to late for him. Vincent van Gogh died on July 29, 1890 in Auvers-sur-Oise, France. Over his lifetime he drew over 850 paintings and about 1,300 works on paper. <br /><br />Sadly, it was only after his death that his paintings found any success and popularity. This has influenced me personally because it taught me to not take everything at face value. You might not know what is going on underneath the surface. With Van Gogh his paintings seemed so happy and playful but behind that he was struggling financially and with his mental health. It taught me to be aware of those around me and to remind myself that not everything is pretty. After learning more about Vincent van Gogh’s life and his struggles it made the painting have a deeper meaning. It was both sad and beautiful to learn about the man behind the paintings. I learned that even in the worst situations people can create eternal beauty.
Title
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The Brightest Star in the Night
Identifier
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the-brightest-star-in-the-night
Art
Beauty
Inspiration
Painters
Paintings
Pointillism
Salt Lake City, Utah
Students
Teachers & Teaching
The Starry Night
van Gogh, Vincent
-
http://humanitiesmoments.org/files/original/13/202/SplendorandDarknessAcklandArtMuseum.jpg
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Splendor and Darkness, Ackland Art Museum
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Contested Territory: America’s Role in Southeast Asia, 1945–75
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A National Endowment for the Humanities Summer Institute for Teachers
Description
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Taking place from July 16-27, 2018, <a href="A%20National Endowment for the Humanities Summer Institute for Teachers">this National Endowment for the Humanities Summer Institute</a> explored modern Vietnam in order to situate the American War in broader spatial settings and longer historical contexts.
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contested-territory
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At the NEH Summer Seminar Contested Territory
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Michael Miragliuolo, 43, Social Studies Teacher at Green Hope HS in Cary, NC
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July 25, 2018
Description
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My moment came at one of the least expected times for me over the past few weeks. To begin, I am not a lover of art. I generally am not a fan of art museums at all. About four years ago I married my wife who was a fine arts major at Penn State University and is currently an art teacher in Wake County, North Carolina. She has tried to convince me of the value of works of art and she has taken me to numerous art museums. I have never been one to get it, though, as I see a painting or sculpture and then move on to the next one.
On Wednesday July 25th, 2018 our NEH Summer Institute (Contested Territory) made a trip to the Ackland Art Museum at the University of North Carolina and my group went to the second floor to spend thirty minutes looking at one piece of art from Southeast Asia. This work was by Dinh Q. Le called Untitled #9 from Cambodia: Splendor and Darkness and I could not believe there was nothing else in the room beyond one piece of art. We were asked to bring our chairs up close to the piece. When we were asked to explain what we saw in the work, I was amazed that so many people could see so much and such a variety of things in the work. We switched angles and people then explained the new things they saw from a different perspective. I couldn’t believe it. One work of art could bring so much out of so many different people. The artist in this particular piece was attempting to display some of the horror and emotion associated with the violence in Cambodia in the late 1970’s.
When I spoke with my wife about it that evening she got excited. Without even seeing the piece she tried to explain what the artist may have been attempting to do with colors and what he may have sought by placing the pictures how he did. While I am in no way going to become an art expert, the emotion one work could bring from so many people was a valuable lesson for me and gives me new appreciation for the role art can play in keeping history alive.
Title
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Finding Meaning in Art
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finding-meaning-in-art
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<em>Untitled #9 from Cambodia: Splendor and Darkness</em> by Dinh Q. Lê
Ackland Museum of Art
Art
Art Museums
Cambodia
Chapel Hill, North Carolina
Le, Dinh Q.
Paintings
Teachers & Teaching
Untitled #9 from Cambodia: Splendor and Darkness
-
http://humanitiesmoments.org/files/original/12/188/Fishing_Net.jpg
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Fishing Net
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Pixabay
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fishing-net
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Virginia Geographic Alliance West Indies Teacher Institute
Description
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A week-long experiential professional development experience for teachers taking place during June 2018 in Barbados
Text
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Andy Mink
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Frances Coffey, High School Teacher
Date
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6-19-18
Description
An account of the resource
This mid-20th century oil painting, titled “Fishermen Mending Nets” by the artist Charles Poyer, depicts an elderly man repairing fishing nets by hand with tools located in a basket. The young boy watches with intrigue and appears ready to learn. This customary activity is occurring by the beach, imparting a sense of calm and peace to the painting.
As a social studies teacher traveling in Barbados, I was struck by the complicated relationship Barbadians have with their history. One of our tour guides stated that Bardadians “don’t value our built environment and history as much as they should.” School children, she explained, are required to take few history classes. Plantation tour guides also noted the difficulty in discussing race relations and the challenge of presenting the horrors of slavery with the island’s current image as a sunny, carefree tourist destination. In fact, this painting can be viewed as a microcosm for the representation of race on the island. Many emancipated slaves turned to fishing to escape working on sugar cane plantations. Yet the artist Charles Poyer decided not to depict a black man sharing fishing skills with a black boy, but rather a white man and white boy. This painting raises interesting questions about the transmission of knowledge and race on an island dominated by people of African ancestry.
Despite reluctance and challenges in presenting a nuanced narrative of the island’s history, Barbadians still have pride in their country’s culture. Fishing in Barbados is viewed as a sign of self-sufficiency and an integral part of their identity. The man in the painting is not only imparting a specific skill set to the boy, but also sharing values like the importance of thrift and hard work. Today fishing towns like Oistins deck their street with neon images of fish and locals urge tourists to try the national dish of flying fish and cou cou. Their pride in this dish shows their reverence for the island’s African ancestry, as cou cou was a common meal for slaves. Other important places like Independence Arch in Bridgetown feature the flying fish on its pillars. Thus, fish continue to be embedded in the art and cultural landscape of the island, and remains integral to the country’s identity.
Title
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Fish and Place in Barbados
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fish-and-place-in-barbados
Source
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The oil painting <em>Fishermen Mending Nets</em> by Charles Poyer
Barbados
Culture
Fishing
History
Paintings
Poyer, Charles
Race
Slavery
Teachers & Teaching
-
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Sargassam & Barbados
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Virginia Geographic Alliance West Indies Teacher Institute
Description
An account of the resource
A week-long experiential professional development experience for teachers taking place during June 2018 in Barbados
Text
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Andy Mink
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Chris Bunin
Date
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Wednesday, June 20, 2018
Description
An account of the resource
At the heart of humanities are humans. This moment encapsulates the unintended consequences of human interactions with our environment. The picture was taken at Bathsheba, Barbados that shows the impact of Sargassam seaweed on the island nation of Barbados. It is believed the seaweed bloom is related to deforestation and agribusiness in along the Amazon River in Brazil. The source of this moment was seeing a painting of Bathsheba in St. Nicholas Abbey plantation. It affected me by realizing the ripple effects of our actions and the importance of Environmental history and geography.
Title
A name given to the resource
Sargassam & Barbados
Identifier
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sargassum-barbados
Bathsheba, Barbados
Environmental History
Geography
Paintings
Photography
-
http://humanitiesmoments.org/files/original/1/174/hopper-nighthawks-r1.jpg
11b6e63052fc5ca1655bfd0ee670d060
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“Night Hawks,” by Edward Hopper
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David Denby
Description
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This collection includes contributors by the author, journalist and film critic David Denby.
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david-denby-humanities-moments
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<iframe width="640" height="360" src="https://player.vimeo.com/video/272587620" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
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Nighthawks at the Museum
Description
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Answering the question whether a humanities moment looks different across generations, David Denby shares an example of such a moment he and his son experienced together at the Art Institute of Chicago.
Contributor
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David Denby, author, journalist, film critic for the New Yorker
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david-denby-nighthawks-at-the-diner
Art Institute of Chicago
Art Museums
Chicago, Illinois
Fathers & Sons
Hopper, Edward
Nighthawks at the Diner
Paintings
Writers
-
http://humanitiesmoments.org/files/original/169/kennedys.jpeg
4043164748676d5eae8cf7df568b00c9
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Jackie O. and John F. Kennedy engagement photo by Richard Avedon
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<iframe width="560" height="315" src="https://www.youtube.com/embed/B3voqrDJaDg" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="allowfullscreen"></iframe>
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Discovering How Literature and Art Place Demands on Us
Description
An account of the resource
<p>From reading <em>Crime and Punishment</em> as a high school senior and the Depression-era masterpieces <em>Absalom, Absolom!</em> and <em>Let Us Now Praise Famous Men</em> in college, Gil Greggs describes a personal journey of discovery about the ways literature connects readers to the real world.</p>
<p>Later, he describes how the portraits painted by Rembrandt and photographs taken by Richard Avedon help us notice and better appreciate the humanity of the people around us and to perceive hints of their inner lives.</p>
Contributor
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Dr. Gil Greggs, Director of Academic Programs, St. David’s School, Raleigh NC
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gil-greggs-learning-to-read-in-order-to-see
Absalom, Absalom!
Agee, James
Avedon, Richard
Books & Reading
Crime and Punishment
Dostoyevsky, Fyodor
Evans, Walker
Faulkner, William
Let Us Now Praise Famous Men
Literature
Paintings
Photography
Rembrant, Harmenszoon van Rijn
Teachers & Teaching
-
http://humanitiesmoments.org/files/original/21/Wheatfield_with_Crows.Vincent_Van_Gogh.jpg
c8d7bec60881ca1c6d140eb96c11b6da
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Vincent van Gogh, "Wheatfield with Crows"
Moving Image
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Dublin Core
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Title
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“I was dragged, kicking and screaming, to a van Gogh exhibition”
Subject
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I get chills thinking about it even now, because to have this extraordinary storyteller explaining to you what was going on at that point in van Gogh’s life—what this meant to him, what it should mean to us—but still leaving the whole painting open to individual interpretation, it was really something that, to me, was quite profound.
Description
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In what I believe was the latter part of the 1980s, I was dragged, kicking and screaming, to a van Gogh exhibition at the Metropolitan Museum. And for the first time in my life, I wore one of those machines around my neck, where you listen to headphones and you hear somebody describe what it is you’re going to see. It was a brand-new experience.
The narrator was the then-director of the Metropolitan Museum, Philippe de Montebello, and at the introductory part of the exhibit, I was really struck by the quality of what he was saying. It was so well written that it really bordered on being fine literature.... As we went from room to room, his storytelling, and the visual impact of my seeing these extraordinary paintings by this extraordinary, troubled person, made an impact on me that I still think about, probably, every month.
There was a new richness in what I saw, but also a level of insight into what van Gogh had done that magnified to a great degree the impact that it had on me. Looking back on it, coming at a part of my life where I had been underground for a long time, as a law student, and then as a young lawyer, it pulled me back into the knowledge that there was this greater, more interesting world out there; one to which I owed a lot more attention. From then on, I dedicated myself to making sure that I was going to live a life that was more rich.
I get chills thinking about it even now, because to have this extraordinary storyteller explaining to you what was going on at that point in van Gogh’s life—what this meant to him, what it should mean to us—but still leaving the whole painting open to individual interpretation, it was really something that, to me, was quite profound.
Creator
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Vincent van Gogh
Contributor
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C. Allen Parker, General Counsel, Wells Fargo & Company
Identifier
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allen-parker-van-gogh
Source
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An exhibit of Vincent van Gogh's paintings
Art
Art Exhibitions
Art Museums
Business Leaders
de Montebello, Philippe
Metropolitan Museum of Art
Museum Curatorship
New York, New York
Paintings
Post-Impressionism (Art)
Storytelling
van Gogh, Vincent