Wanders of the Harn Museum of Art daria bulatnikova, IUF Sec. 083H

Champ d’avoine - Oat Field- by Claude Monet became my choice for the Technique section. Firstly, because my favourite theme in art is nature: I find it very temperamental, inspirational, deep; it has a key to me heart, my thoughts, my inner controversies. Secondly, I love Monet's technique as it represents classic impressionism and depicts the true beauty of a momentum. His brushwork in Champ d’avoine is rhythmic and wide, it does not aim for details but rather impressions, feelings and moods. The technique creates a visual effect of a light haze which reminds me of summer days full of ocean breeze, floral scents and colorful, yet foggy, dreams. When looking at the painting I could see Monet with a brush in his hand and a relaxed content smile on his face. He managed to communicate the magic of this summer momentum of the French Oat Field.

Champ D’avoine by Claude Monet. Picture taken by Sophia Tarasevich

My first impression of the Harn Museum of Art was created by the entrance hall to the exhibits: open, spacious, bright, yet calm, welcoming and intriguing. I waited for my friend in the hall, that is how I established a very intimate connection with the space there. It allowed me to clear my head from thoughts and get prepared for a dialogue with artists and their work. I think architects made a very wise choice by leaving this hall empty as if a special museum "bridge" that separates the world of art from the world of routine worries and responsibilities. Glass walls still leave one in a slight touch with the reality, but also introduce to many wanders of the Harn Museum of Art.

A selfie with the glass corridor and the hall itself. Taken by me.

One of my core values are constant self-development, blooming curiosity and freedom to make decisions. This painting spoke to me as an invitation to raise above the ground and embrace the world with its all opportunities. The work is called Chelsea Composite and performed by a female artist Yvonne Jacquette which also appealed to me because I greatly support women in art and other spheres of creativity. I liked the painting because of its 'confident' size and the 'top' perspective the painter chose which reminds me of my own bravery and curiosity. The painting (after learning about its context) makes me feel uplifted and encouraged to try new things and never be fearful of mistakes.

Chelsea Composite by Yvonne Jacquette. Taken by Sophia Tarasevich

In the past weeks, we talked a lot about personal solitude and human desire to discover himself through loneliness and rejection of basic societal and physical desires (Siddhartha's food diet, Thoreau's ascetic life in the woods). I definitely liked an idea of a dialogue with one's own mind and revisited my own thoughts about the 'momentum'. I definitely agree that it is crucially important to learn how to be 'here and now' and experience the moment and truly live it. However, my Good Life value contradicts the Thoreau's view. Carrie Mae Weems' work from the Kitchen Table series deeply touched my soul because my everyday routine relationship with my mother had been part and parcel of my development into an adult I am today. I find it crucially important to bond with parents and family, feel the parental support, see their example and their love 24/7. I define Good Life as a moment (or even as a process) when, among other factors, a soul has a soulmate; and I can see how a mother can become one. Carrie Weems managed to explain love, tenderness and support through her work, which clearly coincides with my personal understanding of a Good Life.

A photograph from the Kitchen Table series by Carrie Mae Weems. Taken by Sophia Tarasevich.

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