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https://humanitiesmoments.org/files/original/543/Van_Gogh_HM.jpg
3a7d1a38212793968126e0bd26301dfd
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Impressionist painting
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impressionist-painting
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Van Gogh and Me
Description
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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
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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
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https://humanitiesmoments.org/files/original/4/523/Claude_Monet-Madame_Monet_en_costume_japonais.jpg
023cdf1e8f0520c288ba2fe571135470
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Camille Monet in Japanese Costume
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camille-monet-japanese-costume
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Sarah Bartosiak
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Educators
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This collection features contributions by teachers, education administrators and others involved in teaching at levels K-16.
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educators-humanities-moments
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High School Social Studies Curriculum Specialist
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Sarah Bartosiak, High School Social Studies Teacher
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June 18, 2021
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<em>Black Histories, Black Futures</em>
Description
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I have vague recollections of eating my packed lunch on the stone steps of the Wadsworth Atheneum Museum of Art after completing a scavenger hunt for facts about particular paintings deemed important by my elementary school teacher. <br /><br />I more distinctly remember returning to that art museum with my mom a few years later to view the <em>Monet’s Water Lilies: An Artist’s Obsession</em> exhibition. I had already developed a partiality for impressionism, and Monet specifically, probably from that early field trip, and we discussed the similarities and subtle differences in each iteration of the painting. Alongside the paintings were photographs of the gardens from Monet’s time as well as modern images that immediately put this French commune on our travel bucket list. <br /><br />My mom and I haven’t made it to Giverny yet, but this summer we traveled to see the <em>Monet and Boston: Legacy Illuminated</em> exhibition at the Museum of Fine Arts. This collection featured Monet’s paintings alongside works from his predecessor Millet and contemporary Rodin, but it was the comparison to the Japanese artist Hokusai that I found most surprising - until I learned that the forced reopening of Japan to foreign trade in the nineteenth century exposed Western Europeans to Japanese style and culture which inspired many artists of the time, including Monet. <br /><br />This art exhibition displayed the interconnectedness of political and economic power plays, expanding global trade networks, and cultural diffusion. And it has been by teaching my students how to analyze the content and context of paintings, maps, and other images that they have been able to put together the pieces that make up the puzzle that is world history. But I was doing to my students what my elementary school teacher did to me twenty years earlier. <br /><br />I selected all of the visual sources used in my classroom and explained how students should analyze them in order to understand the past - I was making them all complete my version of the world history puzzle. But then I came across the <em>Black Histories, Black Futures</em> exhibition curated by local high school students who developed a theme to explore, selected the works of art to display, and wrote the labels to provide context for three galleries throughout the MFA. These students actively researched and interpreted historical information to reach their own understandings about a past that was important to them. Next year, I look forward to seeing how my students put the pieces of world history together to create their own unique puzzles … and maybe even to curate their own museum galleries!
Title
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World History Puzzles
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Museum of Fine Arts, Boston
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world-history-puzzles
Art Exhibitions
Art Museums
Learning
Museum of Fine Arts, Boston
Teachers & Teaching
World History
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https://humanitiesmoments.org/files/original/36/NY_architecture.jpg
5e8ec44e204523721ce833d730af9c71
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Title
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New York, New York
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<iframe width="560" height="315" src="https://www.youtube.com/embed/pP8Uqcl0sCM" 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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The Streets of New York Are Like a Library
Description
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In this video submission, artist Carter Thompson discusses how a recent exhibit on the Harlem Renaissance revealed some of the fascinating history of the century-old building in which he lives and helped him feel a connection across the decades with those who lived in the neighborhood before him.
Thompson describes how his sensibilities as an artist are informed by the stories of those who have walked the same streets, or seen the angle of the light in much the same way. He also notes how the humanities help us to bridge differences wrought by time and vastly different life experiences, and to find the common threads of our shared humanity.
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Carter Thompson, artist and designer
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new-york-is-like-a-library
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An art exhibition on the Harlem Renaissance
Architecture
Art Exhibitions
Artists
Harlem Renaissance
History
New York, New York
Photography
Storytelling
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https://humanitiesmoments.org/files/original/21/Wheatfield_with_Crows.Vincent_Van_Gogh.jpg
c8d7bec60881ca1c6d140eb96c11b6da
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Vincent van Gogh, "Wheatfield with Crows"
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<iframe width="640" height="480" src="https://player.vimeo.com/video/262252307" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe>
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“I was dragged, kicking and screaming, to a van Gogh exhibition”
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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
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C. Allen Parker, General Counsel, Wells Fargo & Company
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allen-parker-van-gogh
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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