BU AHA

Selections from the Museum of Fine Arts, Boston collection as chosen by the Boston University Art History Association.

Heading to the MFA for a class assignment, a film, lecture, or just for fun? Here are ten pieces we've enjoyed on our wanders through the Museum. What about you, what's your favorite piece at the museum and do you have any responds to our commentary? Feel free to drop us a line at aha@bu.edu if you want to help us expand our list and let us know what you think.

Look at Eve. Her small breasts, super toned arms and stomach are so reminiscent of Adam right there, yet we have her wide hips and frankly chubby thighs. What was the standard of beauty here? Is she supposed to be beautiful? He's a Grecian statue to the letter---look at his hair---yet with her there's a heaviness starting at her waist and pulling her down. She's what brought man down and that's seemingly shown the heaviness of her bottom portion, and is tied in too with her being female.
I really love this painting: the captured moment of Parisians off in the countryside; the soft minty green of the grass and the muted cloud-covered sky. I love the clothes and the composition of the figures just really makes it seem like a snapshot of the time, of course with the distinct Impressionism style---look closely at the horse's carriage in the foreground and watch the blurr of trees along the horizon. I also like the guy's hat.
Did you get a chance to see the exhibition where Lichtenstein's Cathedrals were placed across from this series of Monet's. The open conversation was really wonderful and spoke to repetition in art---and from an artist's perspective really showed how one can get fixated on the objects and people represented. The need to capture the piece just right and see it in every light, just sort of seemed to overtake the two as they created their pieces, at different times of days and with slight changes, just trying to capture the true "essence" of it.
I remember seeing this painting as a child with my art teacher and he pointed out the fact that at the bottom of the painting you could see the woman's petticoats. That and how she was munching and just leaving her work when inspiration struck and Manet just needed to paint her. Is she that striking? In the gentle preparation of her face, you can really see that Manet definitely thought so.
Seeing this piece ** close, you're just really struck by the idea of "fertility;" you notice the depth of the carved line that creates the goddesses ******, and the fleshiness thickness of the labial folds.
I love when costumes are displayed as art. Though probably not on view (sensitive to light), the thought of wearing this everyday is of course extravagant, frivolous, and really, really appealing.
Not the most mature thought I've ever had, but reminds me of Missy Elliot's "Gossip Folk."
Another song comes to mind, from Some Like it Hot, "I Wanna be Loved by You." Imagine being this couple, immortalized forever, caught in love. It's wonderful.
This piece always makes me reflect of dignity, namely the quietness innate. Here there are simple people at work and yet they are captured with a pride previously shown to the bejewelled royals. Their toils are majestified and are depicted as proud.
I just simply want this in my house. Not dorm room, that's a very nice boho chic (meaning clothes everywhere with the chicness coming from the fact that it doesn't smell (well too much)) but my real home that I one day can fill with antiques. Is the Museum selling. Not now of course, but one can dream.
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