I’m such a fan of making museums welcoming for everyone, of moving away from austere temples, the ones that my kids became turned off by and, well, aren’t necessarily running back to. Getting them to love these spaces as much as me was definitely not one of my motherly successes. Or of museums. As marketers say, it’s immensely more profitable to retain customers than to attract new ones.

Creating a space that people want to experience and come back to naturally means targeting not just young people but all reference groups. And Access Tours, for those with memory, hearing, or sight difficulties, have been one of my highlights in art education. I love the enthusiasm of these visitors who are deeply appreciative to be in this beautiful space, especially when it is reserved just for them. A precious moment. Proof of the pudding is seeing the same faces time and again who mark the date on their monthly calendars. And they are not just excited about seeing art, but the whole experience is what brings them back—discovering, listening, discussing, being together.

So, you might ask, what did we talk about? Well on the agenda was the male and female gaze in 19th century Impressionistic France—Auguste Rodin’s raw sculpture in stark contrast to Berthe Morisot’s delicate paintings.

The Crouching Woman, with a nude woman in a terribly uncomfortable position is an enigma. It is mind-boggling how a model could have held that pose. I’ve tried it, with no success. Why would Rodin be interested in that torturous position? But then, what about her? What is she doing and thinking, peering downward, perhaps sadly, perhaps modestly, as she is attempting to cover herself?

The movement and contrasts are mesmerizing. Despite her awkward perch on an unstable rock, she somehow looks balanced. Even strong and unbreakable. While some parts of the sculpture are glistening, others are rough, unfinished. The light shimmers on the bronze sculpture’s myriad of lines.

Then Berthe Morisot, one of my favorite artists whom I have a hard time not boring everyone with. We talked about the evolution from realism in Jeune Femme to her signature Impressionist style in The Basket Chair. About being a female artist in a man’s world. About being constrained to domestic scenes. About not being more renowned. About the beseeching, melancholic expressions of her models, despite their privileged status. About her lovely, dashing brushwork and iridescent colors. How different from Rodin’s depictions of women. And how animated the conversation!

My dear father would have loved this experience, which fosters community and engagement. And not only my father, but my mom too. Part of the brilliance of these tours is how they also create an outlet for those caring for their loved ones. Enjoyment, stimulation, support outside of the 24/7 responsibility.

Can’t wait for the doors to open again for one of the most edifying programs that I’ve known.

All photos my own except The Crouching Woman stock

Opening Museum Doors Wide

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