12/2019
Chasing the Sun: The art of raising mental health awareness
The following text includes my abbreviated notes from three presentations and an article that I submitted to SchoolArts magazine.
Countless hours go into preparing for a presentation, only for it to go by in a flash - 50 minutes, tops. Having the opportunity to get some extra mileage out of that work is always satisfying.
In each of these instances, the article and presentations, I had to consider my audiences. For example, at the InSEA congress, my audience consisted of art educators and professors from around the globe, and I share the 90-minute time-slot with two other presenters addressing similar content but whom I had never met until that moment. If the presentation did not go well, I would likely never see these people again.
At the MAEA conference, my audience consisted of local art educators and professors - one of which was the Dean of Art Education during my undergrad and graduate studies. Knowing I would likely see many of these people again, adds an additional layer of stress.
During our school's professional development day, my presentation was felt like one giant observation!
Anyway, I am fortunate to have had these opportunities. Each time I edited the presentation to accommodate the audience, I revisited my work in the classroom, made adjustments accordingly, and developed stronger lessons.
Thanks for tuning in....be well!
Chasing the Sun: The art of raising mental health awareness
The following text includes my abbreviated notes from three presentations and an article that I submitted to SchoolArts magazine.
- The article was submitted and accepted in April of 2018. Recently published in the January 2020 issue! A PDF of this article is available at the bottom of this page.
- I presented on the topic of art and mental health at the International Society for Education through Art (InSEA) congress in Espoo, Finland, June 2018.
- I revised the presentation for the Maryland Art Education Association's (MAEA) annual conference in October 2018.
- And finally, I presented this topic to my colleagues at school during a professional development day in February 2019.
Countless hours go into preparing for a presentation, only for it to go by in a flash - 50 minutes, tops. Having the opportunity to get some extra mileage out of that work is always satisfying.
In each of these instances, the article and presentations, I had to consider my audiences. For example, at the InSEA congress, my audience consisted of art educators and professors from around the globe, and I share the 90-minute time-slot with two other presenters addressing similar content but whom I had never met until that moment. If the presentation did not go well, I would likely never see these people again.
At the MAEA conference, my audience consisted of local art educators and professors - one of which was the Dean of Art Education during my undergrad and graduate studies. Knowing I would likely see many of these people again, adds an additional layer of stress.
During our school's professional development day, my presentation was felt like one giant observation!
Anyway, I am fortunate to have had these opportunities. Each time I edited the presentation to accommodate the audience, I revisited my work in the classroom, made adjustments accordingly, and developed stronger lessons.
Thanks for tuning in....be well!
**Slide Notes **
When I was undergraduate student at Towson University back in 94', I presented a few sketches to my sculpture professor who liked my ideas, and asked me to build the sculpture outside of the Fine Arts building in an area designated for student sculptures.
I was honored to be asked really, excited about the opportunity. So I built, and installed the sculpture….
When I was undergraduate student at Towson University back in 94', I presented a few sketches to my sculpture professor who liked my ideas, and asked me to build the sculpture outside of the Fine Arts building in an area designated for student sculptures.
I was honored to be asked really, excited about the opportunity. So I built, and installed the sculpture….
My professor then asked me to write an artist statement, although I do not remember him calling it that. Specifically, he asked me to write about the ideas I had for the piece: how the designs evolved, and what was the general-purpose or meaning behind the work. I remember looking at him and thinking, what do you mean…it’s just an idea...I sketched out, ….and here we are!Of course, there was more to it than that…I just never had any teacher, up until that point, ask me to explain my ideas…or to put them in a written format. As I have gotten older, I have come to recognize that the work we make is a reflection of our life experiences.
The challenge (in life) is recognizing that those experiences are a part of who you are, for better or worse, and then being mindful of how they may impact our work.
And if we look beyond ourselves and connect with other people’s experiences, then we can cultivate our sense of empathy for others.
With all of this in mind, what I hope to convey is how art, writing, and being mindful of one’s self and others, have been utilized in my classroom to create units that focus on issues of mental health.
In the development of these units, writing/journaling has been a critical component in helping me to:
The following is an outline of a 7th-grade unit that focuses on mental health using Vincent van Gogh’s life as a catalyst.
Like many units and lessons that we teach, this one has received quite a bit of tweaking over the years. I discovered what didn’t work and what could be explored further to make the concepts more relatable to the students.
When I first started teaching, 22 years ago, I had resisted the idea of talking to my students about Vincent van Gogh. There are a lot of artists out there that deserve attention, so why focus on this one “poster-child of art history.”
What I wasn’t considering in my dismissiveness, was how his mental health impacted his work. When I delved into this aspect of his life, and I connected some of my own experiences…I was able to shed some of my preconceived notions about his work.
The challenge (in life) is recognizing that those experiences are a part of who you are, for better or worse, and then being mindful of how they may impact our work.
And if we look beyond ourselves and connect with other people’s experiences, then we can cultivate our sense of empathy for others.
With all of this in mind, what I hope to convey is how art, writing, and being mindful of one’s self and others, have been utilized in my classroom to create units that focus on issues of mental health.
In the development of these units, writing/journaling has been a critical component in helping me to:
- assess a student’s comprehension of the lesson’s goals and concepts,
- AND, challenge the student to articulate their ideas beyond the VISUAL form…
The following is an outline of a 7th-grade unit that focuses on mental health using Vincent van Gogh’s life as a catalyst.
Like many units and lessons that we teach, this one has received quite a bit of tweaking over the years. I discovered what didn’t work and what could be explored further to make the concepts more relatable to the students.
When I first started teaching, 22 years ago, I had resisted the idea of talking to my students about Vincent van Gogh. There are a lot of artists out there that deserve attention, so why focus on this one “poster-child of art history.”
What I wasn’t considering in my dismissiveness, was how his mental health impacted his work. When I delved into this aspect of his life, and I connected some of my own experiences…I was able to shed some of my preconceived notions about his work.
The catalyst for my interest in Van Gogh began many years ago after chaperoning a trip to France with a group of Gilman 8th graders.
We were in Saint-Rémy, (Southern France) visiting one of the planned, designated sites dedicated to Roman architecture. And, as our group stood around a sizeable weathered stone structure dissecting its design and purpose, I wandered across the road and down this short little drive, where I had noticed these plaques that had Van Gogh paintings on them.
I called over to my colleague and asked her to translate the French writing associated with the paintings. And, according to the description, the plaques were actually land markers that indicated the spot where Van Gogh had painted those particular paintings.
We walked a bit further down the drive and discovered that we were at the asylum, where Van Gogh had admitted himself following a severe mental breakdown that resulted in severing a portion of his ear.
This hospital marked a pivotal moment in his life. To put it in perspective, the work he made preceding his stay at the hospital was really created with the intent of learning - learning new techniques, or copying someone else’s style, or for the sole purpose of trying to sell his work.
We were in Saint-Rémy, (Southern France) visiting one of the planned, designated sites dedicated to Roman architecture. And, as our group stood around a sizeable weathered stone structure dissecting its design and purpose, I wandered across the road and down this short little drive, where I had noticed these plaques that had Van Gogh paintings on them.
I called over to my colleague and asked her to translate the French writing associated with the paintings. And, according to the description, the plaques were actually land markers that indicated the spot where Van Gogh had painted those particular paintings.
We walked a bit further down the drive and discovered that we were at the asylum, where Van Gogh had admitted himself following a severe mental breakdown that resulted in severing a portion of his ear.
This hospital marked a pivotal moment in his life. To put it in perspective, the work he made preceding his stay at the hospital was really created with the intent of learning - learning new techniques, or copying someone else’s style, or for the sole purpose of trying to sell his work.
The paintings he made during and after his year-long stay at the hospital, were in large part, made to regain his health; to find peace. Many historians regard this period of work to be his best.
Unfortunately, just a few months after his leave from the hospital, Van Gogh would die of a gun-shot wound.
Unfortunately, just a few months after his leave from the hospital, Van Gogh would die of a gun-shot wound.
We wandered around the grounds for a bit and further discovered that the hospital (asylum) still functions today serving patients, and art therapy is utilized as a method for treatment.
Outsiders can visit Van Gogh’s room, and get a brief overview of how mental health illnesses were treated back in the day. Considering some of the methods that were used, it is really impressive that the Saint-Paul Asylum recognized the relationship between art-making and mental health.
During this period, Van Gogh was suffering from vivid hallucinations and debilitating seizures. Still, the doctors recognized that his passion for art was an essential part of his recovery. They even provided a spare room for him to use as a studio space to work on his art.
Outsiders can visit Van Gogh’s room, and get a brief overview of how mental health illnesses were treated back in the day. Considering some of the methods that were used, it is really impressive that the Saint-Paul Asylum recognized the relationship between art-making and mental health.
During this period, Van Gogh was suffering from vivid hallucinations and debilitating seizures. Still, the doctors recognized that his passion for art was an essential part of his recovery. They even provided a spare room for him to use as a studio space to work on his art.
Discovering this site on our trip marked a change in how I teach, and the asylum became a regular stop on future Spring Break trips abroad. These excursions with students challenged me to examine Van Gogh’s life beyond the headlines and beyond the highlights noted in art history textbooks.
I wanted to talk to my students about Van Gogh from a mental health perspective. By examining his struggles with mental health, my hopes were to put Van Gogh, and others like him, within a meaningful and contemporary context. I wanted to get students to move beyond the generalization that Vincent was this “crazy” artist. And in the process, to consider the language we use when discussing mental health…for example, what are we really saying when we describe someone as “CRAZY?”
I wanted to get my students to understand that there was a REAL person behind the paintings; a human with feelings, worries, desires, pain, hope, and so on.
I wanted to talk to my students about Van Gogh from a mental health perspective. By examining his struggles with mental health, my hopes were to put Van Gogh, and others like him, within a meaningful and contemporary context. I wanted to get students to move beyond the generalization that Vincent was this “crazy” artist. And in the process, to consider the language we use when discussing mental health…for example, what are we really saying when we describe someone as “CRAZY?”
I wanted to get my students to understand that there was a REAL person behind the paintings; a human with feelings, worries, desires, pain, hope, and so on.
To do this, I started examining Vincent’s letters. I was struck by one particular letter that Vincent wrote to his brother Theo, in July of 1880. Vincent was 27 years old, he was living alone, and was desperately trying to convey to his brother, how his mental state was impacting his life. To do this, Vincent profoundly compared a bird’s molting process to a person facing adversity.
He wrote:
What molting is to birds, the time when they change their feathers, (is what) adversity or misfortune, hard times, is for us human beings. One may remain in this period of molting, one may also come out of it renewed, but it’s not to be done in public; it’s scarcely entertaining, it’s not cheerful, so it’s a matter of making oneself scarce. You can stay in this molting period, you can come out of it like a new man, but nevertheless this is not something to be done in public, it is hardly a laughing matter, which is why you need to hide away.
...In the springtime a bird in a cage knows very well that there’s something he’d be good for; he feels very clearly that there’s something to be done but he can’t do it; what it is he can’t clearly remember, and he has vague ideas and says to himself, ‘the others are building their nests and making their little ones and raising the brood’, and he bangs his head against the bars of his cage. And then the cage stays there and the bird is mad with suffering. ‘Look, there’s an idler’, says another passing bird — that fellow’s a sort of man of leisure. And yet the prisoner lives and doesn’t die; nothing of what’s going on within him shows on the outside, he’s in good health, he’s rather cheerful in the sunshine.
…he’s got everything that he needs in his cage, after all — but he looks at the sky outside, heavy with storm clouds, and within himself feels a rebellion against fate. I’m in a cage, I’m in a cage…
...Me, I have everything I need! But …to be a bird like other birds! An idle man like that resembles the bird…
And it’s often impossible for men to do anything, prisoners in a kind of horrible, horrible cage.
He wrote:
What molting is to birds, the time when they change their feathers, (is what) adversity or misfortune, hard times, is for us human beings. One may remain in this period of molting, one may also come out of it renewed, but it’s not to be done in public; it’s scarcely entertaining, it’s not cheerful, so it’s a matter of making oneself scarce. You can stay in this molting period, you can come out of it like a new man, but nevertheless this is not something to be done in public, it is hardly a laughing matter, which is why you need to hide away.
...In the springtime a bird in a cage knows very well that there’s something he’d be good for; he feels very clearly that there’s something to be done but he can’t do it; what it is he can’t clearly remember, and he has vague ideas and says to himself, ‘the others are building their nests and making their little ones and raising the brood’, and he bangs his head against the bars of his cage. And then the cage stays there and the bird is mad with suffering. ‘Look, there’s an idler’, says another passing bird — that fellow’s a sort of man of leisure. And yet the prisoner lives and doesn’t die; nothing of what’s going on within him shows on the outside, he’s in good health, he’s rather cheerful in the sunshine.
…he’s got everything that he needs in his cage, after all — but he looks at the sky outside, heavy with storm clouds, and within himself feels a rebellion against fate. I’m in a cage, I’m in a cage…
...Me, I have everything I need! But …to be a bird like other birds! An idle man like that resembles the bird…
And it’s often impossible for men to do anything, prisoners in a kind of horrible, horrible cage.
So while this all might seem like heavy material for a middle school lesson, I would argue that most of the mental health challenges we face later in life actually manifest themselves during these early teenage years. When left unchecked, we know as adults, how these challenges can manifest themselves in ways that can be debilitating and suffocating. Some disconnect from friends, family, and some rely on drugs and alcohol, which can then lead to addiction.
Unfortunately, the stigmas associated with mental health often prevent people from seeking help, particularly concerning addiction.
Not only do we need to change the way we think, but we also need to change our language. For example, if someone is recovering from addiction and proclaims that they are now “Clean,” what does it imply about their state of being before they were “clean”? …that they were “dirty”?
To explain this to my students, I begin with this example:
I point out that if a classmate comes to school with a physical injury - a broken arm – it is often treated as a badge of honor; we are quick to inquire about what happened, we offer to help carry their books to and from class, we even ask if we can sign their cast.
However, if a student comes to school struggling with issues related to their mental health, we avoid them and are quick to place labels on their behavior.
Unfortunately, the stigmas associated with mental health often prevent people from seeking help, particularly concerning addiction.
Not only do we need to change the way we think, but we also need to change our language. For example, if someone is recovering from addiction and proclaims that they are now “Clean,” what does it imply about their state of being before they were “clean”? …that they were “dirty”?
To explain this to my students, I begin with this example:
I point out that if a classmate comes to school with a physical injury - a broken arm – it is often treated as a badge of honor; we are quick to inquire about what happened, we offer to help carry their books to and from class, we even ask if we can sign their cast.
However, if a student comes to school struggling with issues related to their mental health, we avoid them and are quick to place labels on their behavior.
The lessons/units related to this topic that I first implemented were not seamless. However, through trial and error, I have been able to get some provocative results from my students over the years.
In its first inception, this unit involved a lot of talking, from me, and then a painting exercise that really did not reinforce the concept of mental health awareness in ways that were concrete.
Our first year, we looked at Van Gogh’s “Blossom” paintings. And in doing so, we had discussions around the concepts of “rebirth” and “new beginnings”.
In its first inception, this unit involved a lot of talking, from me, and then a painting exercise that really did not reinforce the concept of mental health awareness in ways that were concrete.
Our first year, we looked at Van Gogh’s “Blossom” paintings. And in doing so, we had discussions around the concepts of “rebirth” and “new beginnings”.
The following year we looked at Van Gogh’s bedroom series. With this inception, I drew comparisons to another artist who struggled with mental health issues, AND who wrote about it; singer and songwriter Brian Wilson of The Beach Boys.
I spoke about Brain Wilson’s mental health history, we looked at the lyrics to the Beach Boys song, In my Room, and talked about having a “place” as a refuge like one’s bedroom.
I spoke about Brain Wilson’s mental health history, we looked at the lyrics to the Beach Boys song, In my Room, and talked about having a “place” as a refuge like one’s bedroom.
I had my students create drawings and paintings of their own bedrooms from photographs. But, admittedly, there was something a bit creepy about having this much insight into what my students' bedrooms looked like!! So, following that school year, I nixed this idea.
We then looked at Van Gogh’s shoe paintings and talked about the concept of “walking in someone else’s shoes", to see their struggles, to know their hardships.
Rather than picking their own shoes to draw upon, and paint as a reference, I had them choose an image from a stockpile of preselected images to encourage them to think of others.
We then looked at Van Gogh’s shoe paintings and talked about the concept of “walking in someone else’s shoes", to see their struggles, to know their hardships.
Rather than picking their own shoes to draw upon, and paint as a reference, I had them choose an image from a stockpile of preselected images to encourage them to think of others.
In this version of the lesson, I began to incorporate the concept of writing. The students would write a story about the person for whom they believe may have worn those shoes.
They would then pull components of their writing composition into their final painting. So, the final work that was produced was actually a combination of IMAGE and Text.
Although the shoe paintings yielded some beautiful results, my challenge was reaching ALL of my students. Teaching the students to draw and then paint different pairs of shoes proved to be challenging at this age-level.
They would then pull components of their writing composition into their final painting. So, the final work that was produced was actually a combination of IMAGE and Text.
Although the shoe paintings yielded some beautiful results, my challenge was reaching ALL of my students. Teaching the students to draw and then paint different pairs of shoes proved to be challenging at this age-level.
The current version of this unit involves the painting of sunflowers. The drawing and painting of sunflowers have proven to be easier to teach students at this age-level, and yet, still leave room for the students to achieve a high level of conceptualization…both in terms of what they paint AND what they write.
Once we have moved past the realistic rendering of the sunflowers, the students typically incorporate visual elements that are related to their writing composition.
The writing begins before the drawing and painting to provide opportunities for the students to consider how they may want to convey the conceptual nature of their words, visually.
Once we have moved past the realistic rendering of the sunflowers, the students typically incorporate visual elements that are related to their writing composition.
The writing begins before the drawing and painting to provide opportunities for the students to consider how they may want to convey the conceptual nature of their words, visually.
It can be in the form of a poem or short story…either way, it needs to embody a sense of compassion or empathy. The students can write about a time when “THEY” felt disconnected, or they can use Van Gogh’s life as a reference for discussing mental health, and/OR they can use sunflowers as a metaphor…. it's really open-ended.
I had a student write about a sunflower lost at sea, a sunflower blooming in the wintertime, a sunflower blooming too soon, and then wilting in front of the other sunflowers, …lots of great ideas.
I had a student write about a sunflower lost at sea, a sunflower blooming in the wintertime, a sunflower blooming too soon, and then wilting in front of the other sunflowers, …lots of great ideas.
One student repeatedly expressed to me that he is NOT an artist. And yet, his idea for this project was one of my best that year. It was an excellent opportunity to reinforce to him that art is not just about creating "good" drawings or paintings.
In his writing composition, he reflected on his personal need to recharge his mind. In turn, his painting consisted of a sunflower whose petals were USB cords attached to the stem of the flower. As it explained it to me, the USB cords were reaching to the sun for energy.
Similarly, I had a student who was not on my radar as a visual artist (in the traditional sense) but produced a really insightful writing composition. He wrote:
“In the middle of the beautiful sunflower fields, there is one flower, shorter than the rest, that received no help. All of the others receive sunlight, love, and water while one gets nothing. No sunlight, no water, no love. People pass by and don’t even notice it. Wanting to be loved, it tries its best, but its best isn’t good enough. The other flowers take up all the light, all the water, and all the love. The lonely sunflower wants to sequester itself into the soil and never be seen again. It is dark and gloomy, yet has a beautiful side that nobody waits to see. The field of sunflowers is big enough to be called a town, but every town has that one person that nobody likes. Every year the other flowers bloom and grow larger, except for one that dies early right in the middle of the field."
In his writing composition, he reflected on his personal need to recharge his mind. In turn, his painting consisted of a sunflower whose petals were USB cords attached to the stem of the flower. As it explained it to me, the USB cords were reaching to the sun for energy.
Similarly, I had a student who was not on my radar as a visual artist (in the traditional sense) but produced a really insightful writing composition. He wrote:
“In the middle of the beautiful sunflower fields, there is one flower, shorter than the rest, that received no help. All of the others receive sunlight, love, and water while one gets nothing. No sunlight, no water, no love. People pass by and don’t even notice it. Wanting to be loved, it tries its best, but its best isn’t good enough. The other flowers take up all the light, all the water, and all the love. The lonely sunflower wants to sequester itself into the soil and never be seen again. It is dark and gloomy, yet has a beautiful side that nobody waits to see. The field of sunflowers is big enough to be called a town, but every town has that one person that nobody likes. Every year the other flowers bloom and grow larger, except for one that dies early right in the middle of the field."
As I did previously, with the shoe paintings, I have the students revisit their writing composition to highlight significant words or phrases that could be incorporated into their painting using sharpies and paint markers.
Some class time is also spent discussing how the text can enhance the imagery; they consider the layout of the words, the scale, the color, repetition, etc.
Looking beyond the classroom, I’ve started to look at ways to expand on the lesson…moving outside the walls of the art room.
My 7th grade Language Arts colleagues have now started to incorporate Vincent Van Gogh as a reference in their annual creative writing unit. In some cases, the students have further developed what they wrote for me in Art class.
Some class time is also spent discussing how the text can enhance the imagery; they consider the layout of the words, the scale, the color, repetition, etc.
Looking beyond the classroom, I’ve started to look at ways to expand on the lesson…moving outside the walls of the art room.
My 7th grade Language Arts colleagues have now started to incorporate Vincent Van Gogh as a reference in their annual creative writing unit. In some cases, the students have further developed what they wrote for me in Art class.
Additionally, I was also interested in making connections with a local organization. The New Day Campaign is an organization designed to highlight artists who address issues of mental health and drug addiction through their own art.
While the organization primarily works with adults, there was one opportunity (event) that encouraged submissions from students (through the direction of their art teacher) that addressed mental health through the theme of "turbulent waters". To do this, I reached out to several former students who had moved into the Upper School, a benefit from working at a K-12 school. These students created new works that addressed the concept of mental health under the theme of "turbulent waters", and then accompanied me to a fundraiser where they were allowed to speak about their work and donate it if they chose to so. I also contributed to this event by creating my own work and sharing along with my students.
It was an excellent opportunity to be a part of something beyond the classroom. Click on the images below to enlarge and read about the student's response.
While the organization primarily works with adults, there was one opportunity (event) that encouraged submissions from students (through the direction of their art teacher) that addressed mental health through the theme of "turbulent waters". To do this, I reached out to several former students who had moved into the Upper School, a benefit from working at a K-12 school. These students created new works that addressed the concept of mental health under the theme of "turbulent waters", and then accompanied me to a fundraiser where they were allowed to speak about their work and donate it if they chose to so. I also contributed to this event by creating my own work and sharing along with my students.
It was an excellent opportunity to be a part of something beyond the classroom. Click on the images below to enlarge and read about the student's response.
Conclusion
As the unit continues to evolve, it has become apparent to me that the art-making and writing processes have provided opportunities for my students to practice exercises in mindfulness and address issues, related mental health, sometimes their mental health, without judgment.
This unit of study has given my students the tools for expressing their feelings, to gain an awareness of their own mental health, and to have empathy for others.
Endnote:
It has been a long-held belief that Vincent’s life ended tragically from a self-inflicted gunshot wound just a few months following his departure from the asylum. In recent years there has been evidence to suggest that someone other than Vincent fired the gun. This theory uproots the belief that Vincent wanted to leave this world. Authors Steven Naifeh and Gregory White highlighted this revision of Vincent Van Gogh’s death in their 2011 book, Van Gogh: The Life. And, it was also the subplot behind the 2017 oil-painted animated movie, Loving Vincent.
Another movie, released in late 2018, At Eternity's Gate, primarily focuses on Vincent's mental health struggles and accepts the theory that Vincent was indeed shot. I highly recommend this film.
Below is a beautiful clip from an episode of Doctor Who; Van Gogh is transported to the future, to the Musée d'Orsay , to see his work appreciated by the world.
As the unit continues to evolve, it has become apparent to me that the art-making and writing processes have provided opportunities for my students to practice exercises in mindfulness and address issues, related mental health, sometimes their mental health, without judgment.
This unit of study has given my students the tools for expressing their feelings, to gain an awareness of their own mental health, and to have empathy for others.
Endnote:
It has been a long-held belief that Vincent’s life ended tragically from a self-inflicted gunshot wound just a few months following his departure from the asylum. In recent years there has been evidence to suggest that someone other than Vincent fired the gun. This theory uproots the belief that Vincent wanted to leave this world. Authors Steven Naifeh and Gregory White highlighted this revision of Vincent Van Gogh’s death in their 2011 book, Van Gogh: The Life. And, it was also the subplot behind the 2017 oil-painted animated movie, Loving Vincent.
Another movie, released in late 2018, At Eternity's Gate, primarily focuses on Vincent's mental health struggles and accepts the theory that Vincent was indeed shot. I highly recommend this film.
Below is a beautiful clip from an episode of Doctor Who; Van Gogh is transported to the future, to the Musée d'Orsay , to see his work appreciated by the world.
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