Medium of the Art/Technique of the Artist:
iUpon entering the Samuel P. Harn Museum of Art, I ambled across this vibrant 1985 oil on canvas piece by Yvonne Jacquette, an American born artist. The painting, titled, "Tokyo Street with Pachinko Parlor II," stood out to me because of its unique brush stroke pattern. Through the lens of a camera, the fluid yet individual brushstrokes that comprise this work are difficult to see; however, in person, as I experienced, the collaboration of each one of the strokes comes to life to develop a chaotic city landscape. at first look, this work looks as if it is quilted but as I got closer to the piece I realized that the quilted aspect was created from the layering of individual brush strokes. I thought the way that Jacquette reflected the vibrant and loud colors of the building off the dark street was skillful and made the painting more realistic to an actual city scape. I admired the small details in variation of color within the window panes and taxi cabs/buses below which I felt also added to the painting's realism. Overall, this artwork made me feel as if I were surrounded by city life. As I visualized the bright billboards and chaotic lights, I could almost hear the sound of honking taxis and noisy civilians headed home after work.
Design of the museum
As soon as I walked into the Asian Art Exhibit, my eyes were automatically drawn to the dramatic windows showcasing the lush greenery of the zen garden and koi pond. The lighting in the room is dimmed to allow the natural light to expose the open, spacious area which correctly reflects the architectural style of oriental cultures. The light colored wood used to build this room, similar to bamboo, is constructive to the oriental atmosphere this room promotes. I'm positive that the aim of this wing's developers was to create a building that compliments the Asian art that this exhibit highlights and they succeeded at doing so.
Art and core values
This statue, titled "Islandia, Goddess of the Healing Waters" by Audrey Flack is composed of polychrome and gilded plater. This contemporary goddess' figure and position symbolizes power and exuberance. Islandia also resembles classical work like Michelangelo's David by its scale, hand positions, and harmonious, light colors. This goddess represents my core values because her hand gestures are supposedly drawing upon healing waters to restore democracy, and egalitarianism. This goddess seeks to restore the balance between men and women and to heal the brokenness and abuse inflicted on one by the other. This artwork evokes a sense of selflessness in me because it teaches me that in order to heal relationships we must give grace to and forgive others instead of harboring grudges and resentment with expectation of the other person changing their ways first.
ARt and the good life
This Korean, seated Bodhisattva from the Joseon Dynasty (1392-1910), made from Wood with gold, polychrome and lacquer depicts a merciful Buddhist saint who refrains from enlightenment in order to help others. The Buddha's hand position and demeanor convey a calm yet powerful spirit. I think that this work encapsulates the good life because it conveys a sense of compassion for others as the buddha resisted nirvana in order to help others with their journey. Tantamount to this, this work also symbolizes the ideal of resisting desires that we think we need but turn out to disappoint us in the long run which is a principle that I think contributes to living the good life. The idea of self-actualization mixed with morality and compassion may frame the good life for some. Although I do not share in this particular belief with the Buddha, I respect its qualities and spiritual enlightenment as my personal faith in Jesus is my definition of the good life and it has not let me down with respect to being fulfilled, happy, and joyful in all circumstances.
