1
00:00:00,850 --> 00:00:04,790
Announcer: This is a Getty
Podcast.
2
00:00:04,790 --> 00:00:05,250
3
00:00:05,250 --> 00:00:07,042
Lilit Sadoyan: Hi, I’m Lilit
Sadoyan, host of Getty’s
4
00:00:07,342 --> 00:00:11,341
newest podcast, OMMM, Our
Museum Mindfulness Meditation.
5
00:00:11,942 --> 00:00:14,251
In this series, I’ll lead
you through art-inspired
6
00:00:15,022 --> 00:00:17,311
meditations and share a little
art history along the way.
7
00:00:17,921 --> 00:00:21,161
Today, I’m sharing an episode
on Vincent van Gogh’s iconic
8
00:00:21,182 --> 00:00:24,281
painting, Irises, made in 1889.
9
00:00:24,942 --> 00:00:27,811
If you like this episode,
subscribe to OMMM in your
10
00:00:27,821 --> 00:00:29,411
podcast app to hear more.
11
00:00:29,971 --> 00:00:32,831
This podcast is also
available as a video series.
12
00:00:33,371 --> 00:00:35,911
If you’d like to watch
the episode, you can find
13
00:00:35,911 --> 00:00:38,511
it on Getty’s YouTube
channel or on our website
14
00:00:39,042 --> 00:00:40,872
Getty dot edu slash OMMM.
15
00:00:41,591 --> 00:00:43,602
That’s O-M-M-M.
16
00:00:44,152 --> 00:00:46,761
You can also find links to
watch the show and learn more
17
00:00:46,772 --> 00:00:48,071
in the episode description.
18
00:00:48,831 --> 00:00:52,721
And now, let’s take a
break to learn and relax.
19
00:00:52,721 --> 00:00:53,841
[Rising, energetic music]
20
00:00:53,841 --> 00:00:57,031
Today, we’re exploring
Vincent van Gogh’s powerful
21
00:00:57,081 --> 00:01:01,391
and enigmatic painting,
Irises, from 1889.
22
00:01:03,661 --> 00:01:05,661
[Meditative music plays]
23
00:01:05,661 --> 00:01:08,572
Welcome to Our Museum
Mindfulness Meditation
24
00:01:08,581 --> 00:01:10,431
Podcast, or OMMM.
25
00:01:10,981 --> 00:01:14,661
Part art history and part
meditation, we use works of
26
00:01:14,661 --> 00:01:18,111
art from the Getty collection
as inspiration for mindfulness
27
00:01:18,171 --> 00:01:19,411
and deep reflection.
28
00:01:20,381 --> 00:01:22,352
Hi—I’m Dr. Lilit Sadoyan.
29
00:01:22,852 --> 00:01:26,021
I’m a long-time meditation
practitioner and museum
30
00:01:26,071 --> 00:01:27,361
educator at Getty.
31
00:01:28,121 --> 00:01:30,431
Thanks for joining me
as we bring mindfulness
32
00:01:30,562 --> 00:01:33,202
out of the gallery and
into our daily lives.
33
00:01:34,492 --> 00:01:34,592
[Theme music ends]
34
00:01:34,592 --> 00:01:38,101
Today we are exploring the
power of presence in what
35
00:01:38,102 --> 00:01:41,411
is arguably the most iconic
painting at the Getty,
36
00:01:41,901 --> 00:01:43,992
Irises by Vincent Van Gogh.
37
00:01:44,431 --> 00:01:47,261
This episode begins with a
breathing exercise to help
38
00:01:47,261 --> 00:01:49,432
relax your body and mind.
39
00:01:50,081 --> 00:01:53,141
We’ll then get a bit of
history and context for the
40
00:01:53,141 --> 00:01:56,761
painting, and we’ll close with
a meditation that cultivates
41
00:01:56,891 --> 00:01:58,621
awareness of our senses.
42
00:01:59,431 --> 00:02:02,541
This series is also available
as an audio podcast.
43
00:02:03,312 --> 00:02:05,561
If you’d like to step away
from a screen for a few
44
00:02:05,591 --> 00:02:08,762
minutes, listen on your
favorite podcast app.
45
00:02:09,941 --> 00:02:12,071
Now if you’re ready,
let’s jump in.
46
00:02:12,071 --> 00:02:16,411
[Gong leads into soft music]
47
00:02:16,411 --> 00:02:19,242
If you feel comfortable,
you can close your eyes.
48
00:02:21,782 --> 00:02:25,101
And let’s start by taking a
few deep breaths together.
49
00:02:26,051 --> 00:02:30,451
In through your nose. [inhales]
Out through your mouth. [exhales]
50
00:02:33,341 --> 00:02:36,991
Deep breath in...
51
00:02:36,991 --> 00:02:38,182
deep breath out.
52
00:02:41,221 --> 00:02:42,051
Inhale.
53
00:02:44,741 --> 00:02:44,901
Exhale.
54
00:02:45,111 --> 00:02:45,211
55
00:02:45,211 --> 00:02:52,632
And just let your breathing
resume its natural rhythm.
56
00:02:54,892 --> 00:02:57,631
If your eyes are closed
you can gently open them.
57
00:02:57,631 --> 00:02:58,351
[chimes ring]
58
00:02:58,351 --> 00:03:00,222
[Peaceful music begins]
59
00:03:00,222 --> 00:03:03,632
Let’s enter Vincent Van
Gogh’s painting, Irises.
60
00:03:04,832 --> 00:03:09,242
An untended patch of blue
irises grows wildly in a garden.
61
00:03:10,022 --> 00:03:13,981
The brilliant blooms atop
sturdy stems and amidst pointy
62
00:03:13,981 --> 00:03:16,342
leaves seem to sway in the wind.
63
00:03:17,091 --> 00:03:19,462
They absorb the bright
light of the sun.
64
00:03:20,221 --> 00:03:23,331
They appear to be growing
in a row out of the reddish
65
00:03:23,362 --> 00:03:24,701
and burnt umber earth.
66
00:03:25,751 --> 00:03:28,761
Another cropped cluster of
flowers pops in from the
67
00:03:28,761 --> 00:03:31,561
bottom right corner and
leans towards the center.
68
00:03:32,481 --> 00:03:35,921
In the opposite corner, at
top left, orange flowers
69
00:03:35,952 --> 00:03:37,491
are loosely painted in.
70
00:03:38,391 --> 00:03:42,751
A solitary white iris stands at
attention near the left side.
71
00:03:43,972 --> 00:03:47,971
These vibrant blue irises were
in fact originally violet.
72
00:03:48,902 --> 00:03:52,961
Van Gogh mixed cobalt blue with
geranium lake red to paint them.
73
00:03:53,711 --> 00:03:57,221
But over time, the red has
faded, leaving the irises
74
00:03:57,222 --> 00:03:59,001
looking more blue than purple.
75
00:03:59,001 --> 00:04:00,221
[Music fades out]
76
00:04:00,221 --> 00:04:04,042
Even still, colors are in
conversation in this painting.
77
00:04:04,861 --> 00:04:07,912
The original violets
butted up against yellows,
78
00:04:08,352 --> 00:04:10,211
greens sit next to reds.
79
00:04:10,691 --> 00:04:13,741
These pairings are
complimentary colors, which
80
00:04:13,742 --> 00:04:17,141
Van Gogh understood created
dynamic visual effects
81
00:04:17,141 --> 00:04:18,861
when placed side-by-side.
82
00:04:19,581 --> 00:04:23,051
He said that in this
way, colors “attain[ed]
83
00:04:23,221 --> 00:04:24,941
maximum brilliancy.”
84
00:04:26,471 --> 00:04:29,341
The juxtapositions are even
more obvious when we look
85
00:04:29,341 --> 00:04:33,482
at the painted surface: the
application of thick paint, or
86
00:04:33,711 --> 00:04:38,651
impasto, intentionally placed,
one brushstroke next to another.
87
00:04:38,961 --> 00:04:41,571
It’s energetic and expressive.
88
00:04:42,351 --> 00:04:45,992
The warm earth is
painted wet-in-wet, each
89
00:04:46,001 --> 00:04:49,201
brushstroke blending colors
directly on the canvas.
90
00:04:50,011 --> 00:04:53,641
In other areas, Van Gogh
waited for the paint to dry
91
00:04:53,651 --> 00:04:57,371
before adding more layers,
leaving colors distinctively
92
00:04:57,382 --> 00:04:59,041
sitting side by side.
93
00:05:00,461 --> 00:05:03,191
The perspective of the
painting makes me imagine the
94
00:05:03,202 --> 00:05:06,871
artist observing the flowers
from down low to the ground.
95
00:05:07,511 --> 00:05:11,391
We see the flowers emerging
directly from the earth—an
96
00:05:11,422 --> 00:05:15,562
unusual focus for his flower
paintings, perhaps speaking
97
00:05:15,562 --> 00:05:19,352
to his own belief in the
regenerative cycles of nature.
98
00:05:20,112 --> 00:05:23,862
This low viewpoint eliminates
a horizon line altogether.
99
00:05:24,752 --> 00:05:28,761
Immersed in the smells of the
garden, sounds of the birds
100
00:05:28,761 --> 00:05:33,081
and the breeze, the sensation
of the warm Provençal sun on
101
00:05:33,081 --> 00:05:37,322
his skin, Van Gogh’s senses
must have been fully engaged.
102
00:05:37,952 --> 00:05:43,002
We are right there with him,
everything is intensely alive.
103
00:05:43,002 --> 00:05:44,766
[Gentle music begins]
104
00:05:44,766 --> 00:05:49,131
Vincent Van Gogh began
painting Irises on May 8, 1889.
105
00:05:49,721 --> 00:05:53,701
He had just voluntarily checked
himself into an asylum, the
106
00:05:53,702 --> 00:05:57,361
Monastery Saint-Paul de Mausole
at Saint-Remy in Provence,
107
00:05:57,492 --> 00:05:58,522
in the south of France.
108
00:05:59,872 --> 00:06:03,002
He was experiencing a
mental health crisis and
109
00:06:03,002 --> 00:06:04,442
had suffered a breakdown.
110
00:06:05,152 --> 00:06:08,152
He arrived from Arles where
he had fought with fellow
111
00:06:08,152 --> 00:06:10,992
artist Paul Gauguin, who
had been temporarily living
112
00:06:10,992 --> 00:06:14,362
with him, and where Van Gogh
had been hospitalized after
113
00:06:14,362 --> 00:06:15,962
he cut off his own ear.
114
00:06:15,962 --> 00:06:16,612
[Music fades]
115
00:06:16,612 --> 00:06:19,871
The following day, Vincent
wrote to his brother Theo about
116
00:06:19,872 --> 00:06:25,141
starting this painting, noting,
“I believe that all my faculties
117
00:06:25,141 --> 00:06:29,041
for work will come back to me
quite quickly.” And just two
118
00:06:29,042 --> 00:06:34,091
weeks later, he noted to his
brother “life happens above all
119
00:06:34,132 --> 00:06:36,581
in the garden, it isn’t so sad.”
120
00:06:36,591 --> 00:06:37,471
[Nature sounds begin
over soft music]
121
00:06:37,471 --> 00:06:40,122
In the first few weeks after
Van Gogh arrived at the
122
00:06:40,122 --> 00:06:42,712
asylum, he was not allowed
to leave the grounds.
123
00:06:43,531 --> 00:06:46,081
So he found one of the
first subjects in it’s
124
00:06:46,081 --> 00:06:48,421
garden: these irises.
125
00:06:49,731 --> 00:06:52,501
Painting during his stay
seems to have been very
126
00:06:52,511 --> 00:06:54,171
important for his recovery.
127
00:06:54,831 --> 00:06:57,911
He was even granted a second
room to use as a studio.
128
00:06:57,921 --> 00:06:58,861
[Music fades]
129
00:06:58,861 --> 00:07:01,301
Van Gogh’s path to art
was not traditional.
130
00:07:01,852 --> 00:07:04,801
He was the son of a Reformed
Protestant minister in
131
00:07:04,801 --> 00:07:08,051
Holland, and he became
increasingly religious
132
00:07:08,062 --> 00:07:09,781
throughout his young adult life.
133
00:07:10,591 --> 00:07:14,121
He attempted to study theology
and was a lay preacher.
134
00:07:14,871 --> 00:07:18,631
He also took jobs as an art
dealer and a schoolmaster.
135
00:07:19,461 --> 00:07:23,621
In 1880, at the age of 27,
and at the urging of his
136
00:07:23,621 --> 00:07:27,592
brother Theo–but much to their
parents’ chagrin–Van Gogh
137
00:07:27,621 --> 00:07:30,102
decided to become an artist.
138
00:07:31,261 --> 00:07:32,901
He was largely self taught.
139
00:07:33,651 --> 00:07:37,351
His early works focused
on peasant life, farmers,
140
00:07:37,422 --> 00:07:38,951
weavers, and workers.
141
00:07:40,091 --> 00:07:44,701
He moved to Paris in 1886, six
years after he had decided to
142
00:07:44,702 --> 00:07:48,432
pursue art, where he encountered
the work of the Impressionists.
143
00:07:49,291 --> 00:07:52,111
Here, he transitioned
away from a dark palette.
144
00:07:53,291 --> 00:07:56,901
As his work grew progressively
brighter, he developed his own
145
00:07:57,031 --> 00:08:01,431
style of painting, his iconic
short and layered brush strokes.
146
00:08:02,371 --> 00:08:06,231
At this time, he also discovered
Japanese woodblocks, which
147
00:08:06,231 --> 00:08:11,172
inspired his bold outlines and
cropping, as seen in Irises.
148
0:08:11,172 --> 00:08:12,422
[Nature sounds begin]
149
00:08:12,422 --> 00:08:17,291
Nature, gardens, can be places
for recovery and rejuvenation.
150
00:08:17,901 --> 00:08:21,691
But did Van Gogh’s composition
hold a deeper symbolism as well?
151
00:08:22,571 --> 00:08:25,591
The lines of the composition
seem to direct the viewer’s
152
00:08:25,591 --> 00:08:28,542
attention to the single
white iris near the left
153
00:08:28,581 --> 00:08:29,751
edge of the painting.
154
00:08:30,371 --> 00:08:34,231
Leaves, flowers, even the
artist’s signature seem to point
155
00:08:34,241 --> 00:08:35,931
towards the singular bloom.
156
00:08:37,071 --> 00:08:39,882
It has been suggested that
this flower might be a kind
157
00:08:39,882 --> 00:08:44,041
of self-portrait: the one
that is isolated, stands
158
00:08:44,041 --> 00:08:46,021
out, doesn’t quite fit in.
159
00:08:46,821 --> 00:08:49,451
But is that what Van Gogh had
in mind when he painted it?
160
00:08:50,282 --> 00:08:51,052
We don’t know.
161
00:08:51,952 --> 00:08:55,532
Yet its inclusion nevertheless
provides an anchor to
162
00:08:55,532 --> 00:08:57,412
the complex composition.
163
00:08:58,252 --> 00:09:00,332
The painting wouldn’t
be the same without it.
164
00:09:00,862 --> 00:09:02,962
And he guides our
eye right to it.
165
00:09:04,692 --> 00:09:08,541
This painting offers itself
up as an invitation to
166
00:09:08,541 --> 00:09:10,072
get low to the ground.
167
00:09:10,622 --> 00:09:12,811
To come face-to-face
with the flowers.
168
00:09:13,421 --> 00:09:15,982
To pay attention to
things overlooked.
169
00:09:16,741 --> 00:09:20,991
To be fully immersed in the
beauty and gift of nature.
170
00:09:21,792 --> 00:09:26,051
And Van Gogh understood this to
be a mindful activity, writing
171
00:09:26,051 --> 00:09:31,111
just a couple months later,
“I feel obliged to go out and
172
00:09:31,112 --> 00:09:35,501
look at a blade of grass, the
branch of a fir tree, an ear of
173
00:09:35,501 --> 00:09:38,171
wheat, in order to calm down.”
174
00:09:39,531 --> 00:09:43,321
So let’s accept this invitation
to imagine ourselves fully
175
00:09:43,351 --> 00:09:47,291
present, aware of our
senses and the sensations
176
00:09:47,321 --> 00:09:48,671
of the world around us.
177
00:09:48,671 --> 00:09:51,651
[Gong, then gentle music]
178
00:09:51,651 --> 00:09:53,251
If you feel comfortable, I
invite you to close your eyes.
179
00:09:53,932 --> 00:09:56,911
If you would prefer to keep
your eyes open, that’s ok.
180
00:09:57,222 --> 00:10:00,661
Just lower your gaze and
lower your lids to minimize
181
00:10:00,821 --> 00:10:03,531
visual distraction.
182
00:10:03,691 --> 00:10:05,631
Use this time to go inward.
183
00:10:07,751 --> 00:10:11,522
And adopt a posture that
feels both relaxed and
184
00:10:11,522 --> 00:10:16,111
alert in your body, whatever
that means for you today.
185
00:10:18,291 --> 00:10:19,911
Feel a sense of ease.
186
00:10:24,831 --> 00:10:28,561
And let’s begin by taking a
few deep breaths together.
187
00:10:29,452 --> 00:10:30,941
In through your nose.
[inhales]
188
00:10:33,312 --> 00:10:36,561
Out through your mouth.
[exhales]
189
00:10:36,562 --> 00:10:38,801
Arriving with each breath in,
190
00:10:41,471 --> 00:10:43,261
settling with each breath out.
191
00:10:45,901 --> 00:10:47,211
Deep inhale.
192
00:10:49,931 --> 00:10:51,481
Deep exhale.
193
00:10:55,591 --> 00:10:58,642
And just let your breathing
resume its natural rhythm.
194
00:11:00,411 --> 00:11:04,721
So there’s no need to force
or extend anything here.
195
00:11:06,161 --> 00:11:09,251
Just let your body do what
it does very naturally.
196
00:11:15,722 --> 00:11:20,481
And see if you can pay attention
to the way that the breath
197
00:11:20,511 --> 00:11:22,912
moves in and out of the body.
198
00:11:24,761 --> 00:11:27,101
You can get very
specific with this.
199
00:11:27,991 --> 00:11:31,501
Notice, for example, what’s
the texture like today?
200
00:11:33,331 --> 00:11:35,491
Is it smooth or bumpy?
201
00:11:37,401 --> 00:11:39,571
What’s the temperature
like every time I breathe
202
00:11:39,571 --> 00:11:40,911
in and breathe out?
203
00:11:42,791 --> 00:11:46,441
Is it warm or cool on
my inhale and exhale
204
00:11:46,441 --> 00:11:47,961
right around my nostrils?
205
00:11:49,532 --> 00:11:51,171
Just notice for yourself.
206
00:11:51,171 --> 00:11:51,181
207
00:11:51,181 --> 00:11:59,302
And see if you can follow
that breath in through
208
00:11:59,302 --> 00:12:02,672
your nasal passage and
down into your chest.
209
00:12:05,702 --> 00:12:09,112
Notice the rise and fall of
your chest with each breath
210
00:12:09,142 --> 00:12:12,112
in and each breath out.
211
00:12:16,401 --> 00:12:18,452
If your breath is
deeper than that, again,
212
00:12:18,462 --> 00:12:19,811
no need to force it.
213
00:12:21,071 --> 00:12:27,791
But if you can feel your breath
in your soft belly, notice your
214
00:12:27,792 --> 00:12:31,602
belly inflate and deflate like
a balloon with each breath,
215
00:12:35,121 --> 00:12:37,422
expanding and collapsing.
216
00:12:44,481 --> 00:12:47,982
And if your mind
wanders, that’s okay.
217
00:12:51,211 --> 00:12:56,041
Just notice the thoughts as
they arise and gently bring your
218
00:12:56,041 --> 00:12:57,721
awareness back to your breath.
219
00:13:00,181 --> 00:13:03,461
Use your breath as your
anchor to the present moment.
220
00:13:08,681 --> 00:13:17,321
Nowhere else to be, nothing
else to do but to be here now.
221
0:13:17,321 --> 00:13:29,431
[Silence]
222
00:13:29,431 --> 00:13:32,531
Another anchor to the
present moment is sound.
223
00:13:33,961 --> 00:13:35,832
Sounds are so spontaneous.
224
00:13:35,832 --> 00:13:39,641
We really never know what the
next sound is going to be.
225
00:13:42,382 --> 00:13:48,151
So tune into your environment,
however subtle or obvious.
226
00:13:49,611 --> 00:13:54,381
Notice how sounds
arise and dissipate.
227
00:13:54,381 --> 00:14:04,702
[Silence]
228
00:14:04,702 --> 00:14:08,051
And without a need to create
a story or a narrative around
229
00:14:08,051 --> 00:14:13,591
the sounds, notice for yourself
what is the closest sound
230
00:14:13,591 --> 00:14:15,601
that I can hear right now?
231
00:14:18,961 --> 00:14:23,431
And what is the farthest sound
that I can hear right now?
232
00:14:27,301 --> 00:14:30,742
And can you visualize the
space between those two sounds?
233
00:14:32,172 --> 00:14:34,971
How near or far are
they from one another?
234
00:14:38,661 --> 00:14:39,761
Letting that go.
235
00:14:43,002 --> 00:14:47,761
And I invite you to
notice the sensation of
236
00:14:47,791 --> 00:14:49,671
air on your skin, the
237
00:14:52,482 --> 00:14:54,582
temperature on your skin.
238
00:14:59,662 --> 00:15:04,591
Noticing the texture of
the clothes on your skin.
239
00:15:07,712 --> 00:15:11,612
And feeling into the surface
upon which you’re seated
240
00:15:12,391 --> 00:15:14,501
or standing or lying down.
241
00:15:18,321 --> 00:15:21,792
Coming into contact with
these surfaces through touch.
242
00:15:26,411 --> 00:15:30,561
Notice any lingering
scents in your environment,
243
00:15:32,851 --> 00:15:35,102
which aromas are present.
244
00:15:38,522 --> 00:15:41,511
Or is there an absence
of strong smells here?
245
00:15:45,682 --> 00:15:50,071
Without resisting or pushing
away, just notice them.
246
00:15:55,841 --> 00:16:00,121
And finally, notice how
these senses blend together,
247
00:16:01,981 --> 00:16:06,102
bringing your conscious
awareness to your physical body
248
00:16:08,931 --> 00:16:09,991
present here.
249
00:16:12,901 --> 00:16:15,582
Notice the sensations
in your body.
250
00:16:19,971 --> 00:16:23,582
And let’s close by taking
a deep breath together.
251
00:16:23,852 --> 00:16:27,301
Inhale.
252
00:16:27,301 --> 00:16:32,121
Exhale.
253
00:16:32,121 --> 00:16:37,321
If your eyes are closed,
gently open them, coming back
254
00:16:37,331 --> 00:16:42,601
to your environment, slowly
bringing your awareness back
255
00:16:42,632 --> 00:16:44,181
to the space that you’re in.
256
00:16:44,181 --> 00:16:48,281
[Theme music begins]
257
00:16:48,431 --> 00:16:52,421
As we return to the world,
let’s carry this sense of
258
00:16:52,471 --> 00:16:54,551
presence and awareness with us.
259
00:16:56,101 --> 00:16:58,742
Look at things around
you as if you are seeing
260
00:16:58,742 --> 00:17:00,671
them for the first time.
261
00:17:01,952 --> 00:17:06,931
Notice colors, shapes, and
light, and notice how your
262
00:17:06,931 --> 00:17:10,151
senses contribute to your
experience of the moment.
263
00:17:11,051 --> 00:17:16,171
Feel yourself there, fully
present, grounded in your
264
00:17:16,172 --> 00:17:18,041
body and surroundings.
265
00:17:19,752 --> 00:17:23,491
Use it as a reminder to be
in the present moment, and
266
00:17:23,491 --> 00:17:25,131
notice how it makes you feel.
267
00:17:27,282 --> 00:17:30,031
Let’s return to our breath
one last time and close our
268
00:17:30,041 --> 00:17:33,622
practice by taking the biggest
breath you’ve taken all day.
269
00:17:34,341 --> 00:17:37,502
In. [inhales]
270
00:17:37,502 --> 00:17:40,172
Sigh it out. [exhales]
271
00:17:40,172 --> 00:17:40,572
272
00:17:40,761 --> 00:18:13,661
Thank you so much for joining
me.
273
00:18:13,661 --> 00:18:23,992
[Music slowly fades out]
00:00:00,850 --> 00:00:04,790
Announcer: This is a Getty
Podcast.
2
00:00:04,790 --> 00:00:05,250
3
00:00:05,250 --> 00:00:07,042
Lilit Sadoyan: Hi, I’m Lilit
Sadoyan, host of Getty’s
4
00:00:07,342 --> 00:00:11,341
newest podcast, OMMM, Our
Museum Mindfulness Meditation.
5
00:00:11,942 --> 00:00:14,251
In this series, I’ll lead
you through art-inspired
6
00:00:15,022 --> 00:00:17,311
meditations and share a little
art history along the way.
7
00:00:17,921 --> 00:00:21,161
Today, I’m sharing an episode
on Vincent van Gogh’s iconic
8
00:00:21,182 --> 00:00:24,281
painting, Irises, made in 1889.
9
00:00:24,942 --> 00:00:27,811
If you like this episode,
subscribe to OMMM in your
10
00:00:27,821 --> 00:00:29,411
podcast app to hear more.
11
00:00:29,971 --> 00:00:32,831
This podcast is also
available as a video series.
12
00:00:33,371 --> 00:00:35,911
If you’d like to watch
the episode, you can find
13
00:00:35,911 --> 00:00:38,511
it on Getty’s YouTube
channel or on our website
14
00:00:39,042 --> 00:00:40,872
Getty dot edu slash OMMM.
15
00:00:41,591 --> 00:00:43,602
That’s O-M-M-M.
16
00:00:44,152 --> 00:00:46,761
You can also find links to
watch the show and learn more
17
00:00:46,772 --> 00:00:48,071
in the episode description.
18
00:00:48,831 --> 00:00:52,721
And now, let’s take a
break to learn and relax.
19
00:00:52,721 --> 00:00:53,841
[Rising, energetic music]
20
00:00:53,841 --> 00:00:57,031
Today, we’re exploring
Vincent van Gogh’s powerful
21
00:00:57,081 --> 00:01:01,391
and enigmatic painting,
Irises, from 1889.
22
00:01:03,661 --> 00:01:05,661
[Meditative music plays]
23
00:01:05,661 --> 00:01:08,572
Welcome to Our Museum
Mindfulness Meditation
24
00:01:08,581 --> 00:01:10,431
Podcast, or OMMM.
25
00:01:10,981 --> 00:01:14,661
Part art history and part
meditation, we use works of
26
00:01:14,661 --> 00:01:18,111
art from the Getty collection
as inspiration for mindfulness
27
00:01:18,171 --> 00:01:19,411
and deep reflection.
28
00:01:20,381 --> 00:01:22,352
Hi—I’m Dr. Lilit Sadoyan.
29
00:01:22,852 --> 00:01:26,021
I’m a long-time meditation
practitioner and museum
30
00:01:26,071 --> 00:01:27,361
educator at Getty.
31
00:01:28,121 --> 00:01:30,431
Thanks for joining me
as we bring mindfulness
32
00:01:30,562 --> 00:01:33,202
out of the gallery and
into our daily lives.
33
00:01:34,492 --> 00:01:34,592
[Theme music ends]
34
00:01:34,592 --> 00:01:38,101
Today we are exploring the
power of presence in what
35
00:01:38,102 --> 00:01:41,411
is arguably the most iconic
painting at the Getty,
36
00:01:41,901 --> 00:01:43,992
Irises by Vincent Van Gogh.
37
00:01:44,431 --> 00:01:47,261
This episode begins with a
breathing exercise to help
38
00:01:47,261 --> 00:01:49,432
relax your body and mind.
39
00:01:50,081 --> 00:01:53,141
We’ll then get a bit of
history and context for the
40
00:01:53,141 --> 00:01:56,761
painting, and we’ll close with
a meditation that cultivates
41
00:01:56,891 --> 00:01:58,621
awareness of our senses.
42
00:01:59,431 --> 00:02:02,541
This series is also available
as an audio podcast.
43
00:02:03,312 --> 00:02:05,561
If you’d like to step away
from a screen for a few
44
00:02:05,591 --> 00:02:08,762
minutes, listen on your
favorite podcast app.
45
00:02:09,941 --> 00:02:12,071
Now if you’re ready,
let’s jump in.
46
00:02:12,071 --> 00:02:16,411
[Gong leads into soft music]
47
00:02:16,411 --> 00:02:19,242
If you feel comfortable,
you can close your eyes.
48
00:02:21,782 --> 00:02:25,101
And let’s start by taking a
few deep breaths together.
49
00:02:26,051 --> 00:02:30,451
In through your nose. [inhales]
Out through your mouth. [exhales]
50
00:02:33,341 --> 00:02:36,991
Deep breath in...
51
00:02:36,991 --> 00:02:38,182
deep breath out.
52
00:02:41,221 --> 00:02:42,051
Inhale.
53
00:02:44,741 --> 00:02:44,901
Exhale.
54
00:02:45,111 --> 00:02:45,211
55
00:02:45,211 --> 00:02:52,632
And just let your breathing
resume its natural rhythm.
56
00:02:54,892 --> 00:02:57,631
If your eyes are closed
you can gently open them.
57
00:02:57,631 --> 00:02:58,351
[chimes ring]
58
00:02:58,351 --> 00:03:00,222
[Peaceful music begins]
59
00:03:00,222 --> 00:03:03,632
Let’s enter Vincent Van
Gogh’s painting, Irises.
60
00:03:04,832 --> 00:03:09,242
An untended patch of blue
irises grows wildly in a garden.
61
00:03:10,022 --> 00:03:13,981
The brilliant blooms atop
sturdy stems and amidst pointy
62
00:03:13,981 --> 00:03:16,342
leaves seem to sway in the wind.
63
00:03:17,091 --> 00:03:19,462
They absorb the bright
light of the sun.
64
00:03:20,221 --> 00:03:23,331
They appear to be growing
in a row out of the reddish
65
00:03:23,362 --> 00:03:24,701
and burnt umber earth.
66
00:03:25,751 --> 00:03:28,761
Another cropped cluster of
flowers pops in from the
67
00:03:28,761 --> 00:03:31,561
bottom right corner and
leans towards the center.
68
00:03:32,481 --> 00:03:35,921
In the opposite corner, at
top left, orange flowers
69
00:03:35,952 --> 00:03:37,491
are loosely painted in.
70
00:03:38,391 --> 00:03:42,751
A solitary white iris stands at
attention near the left side.
71
00:03:43,972 --> 00:03:47,971
These vibrant blue irises were
in fact originally violet.
72
00:03:48,902 --> 00:03:52,961
Van Gogh mixed cobalt blue with
geranium lake red to paint them.
73
00:03:53,711 --> 00:03:57,221
But over time, the red has
faded, leaving the irises
74
00:03:57,222 --> 00:03:59,001
looking more blue than purple.
75
00:03:59,001 --> 00:04:00,221
[Music fades out]
76
00:04:00,221 --> 00:04:04,042
Even still, colors are in
conversation in this painting.
77
00:04:04,861 --> 00:04:07,912
The original violets
butted up against yellows,
78
00:04:08,352 --> 00:04:10,211
greens sit next to reds.
79
00:04:10,691 --> 00:04:13,741
These pairings are
complimentary colors, which
80
00:04:13,742 --> 00:04:17,141
Van Gogh understood created
dynamic visual effects
81
00:04:17,141 --> 00:04:18,861
when placed side-by-side.
82
00:04:19,581 --> 00:04:23,051
He said that in this
way, colors “attain[ed]
83
00:04:23,221 --> 00:04:24,941
maximum brilliancy.”
84
00:04:26,471 --> 00:04:29,341
The juxtapositions are even
more obvious when we look
85
00:04:29,341 --> 00:04:33,482
at the painted surface: the
application of thick paint, or
86
00:04:33,711 --> 00:04:38,651
impasto, intentionally placed,
one brushstroke next to another.
87
00:04:38,961 --> 00:04:41,571
It’s energetic and expressive.
88
00:04:42,351 --> 00:04:45,992
The warm earth is
painted wet-in-wet, each
89
00:04:46,001 --> 00:04:49,201
brushstroke blending colors
directly on the canvas.
90
00:04:50,011 --> 00:04:53,641
In other areas, Van Gogh
waited for the paint to dry
91
00:04:53,651 --> 00:04:57,371
before adding more layers,
leaving colors distinctively
92
00:04:57,382 --> 00:04:59,041
sitting side by side.
93
00:05:00,461 --> 00:05:03,191
The perspective of the
painting makes me imagine the
94
00:05:03,202 --> 00:05:06,871
artist observing the flowers
from down low to the ground.
95
00:05:07,511 --> 00:05:11,391
We see the flowers emerging
directly from the earth—an
96
00:05:11,422 --> 00:05:15,562
unusual focus for his flower
paintings, perhaps speaking
97
00:05:15,562 --> 00:05:19,352
to his own belief in the
regenerative cycles of nature.
98
00:05:20,112 --> 00:05:23,862
This low viewpoint eliminates
a horizon line altogether.
99
00:05:24,752 --> 00:05:28,761
Immersed in the smells of the
garden, sounds of the birds
100
00:05:28,761 --> 00:05:33,081
and the breeze, the sensation
of the warm Provençal sun on
101
00:05:33,081 --> 00:05:37,322
his skin, Van Gogh’s senses
must have been fully engaged.
102
00:05:37,952 --> 00:05:43,002
We are right there with him,
everything is intensely alive.
103
00:05:43,002 --> 00:05:44,766
[Gentle music begins]
104
00:05:44,766 --> 00:05:49,131
Vincent Van Gogh began
painting Irises on May 8, 1889.
105
00:05:49,721 --> 00:05:53,701
He had just voluntarily checked
himself into an asylum, the
106
00:05:53,702 --> 00:05:57,361
Monastery Saint-Paul de Mausole
at Saint-Remy in Provence,
107
00:05:57,492 --> 00:05:58,522
in the south of France.
108
00:05:59,872 --> 00:06:03,002
He was experiencing a
mental health crisis and
109
00:06:03,002 --> 00:06:04,442
had suffered a breakdown.
110
00:06:05,152 --> 00:06:08,152
He arrived from Arles where
he had fought with fellow
111
00:06:08,152 --> 00:06:10,992
artist Paul Gauguin, who
had been temporarily living
112
00:06:10,992 --> 00:06:14,362
with him, and where Van Gogh
had been hospitalized after
113
00:06:14,362 --> 00:06:15,962
he cut off his own ear.
114
00:06:15,962 --> 00:06:16,612
[Music fades]
115
00:06:16,612 --> 00:06:19,871
The following day, Vincent
wrote to his brother Theo about
116
00:06:19,872 --> 00:06:25,141
starting this painting, noting,
“I believe that all my faculties
117
00:06:25,141 --> 00:06:29,041
for work will come back to me
quite quickly.” And just two
118
00:06:29,042 --> 00:06:34,091
weeks later, he noted to his
brother “life happens above all
119
00:06:34,132 --> 00:06:36,581
in the garden, it isn’t so sad.”
120
00:06:36,591 --> 00:06:37,471
[Nature sounds begin
over soft music]
121
00:06:37,471 --> 00:06:40,122
In the first few weeks after
Van Gogh arrived at the
122
00:06:40,122 --> 00:06:42,712
asylum, he was not allowed
to leave the grounds.
123
00:06:43,531 --> 00:06:46,081
So he found one of the
first subjects in it’s
124
00:06:46,081 --> 00:06:48,421
garden: these irises.
125
00:06:49,731 --> 00:06:52,501
Painting during his stay
seems to have been very
126
00:06:52,511 --> 00:06:54,171
important for his recovery.
127
00:06:54,831 --> 00:06:57,911
He was even granted a second
room to use as a studio.
128
00:06:57,921 --> 00:06:58,861
[Music fades]
129
00:06:58,861 --> 00:07:01,301
Van Gogh’s path to art
was not traditional.
130
00:07:01,852 --> 00:07:04,801
He was the son of a Reformed
Protestant minister in
131
00:07:04,801 --> 00:07:08,051
Holland, and he became
increasingly religious
132
00:07:08,062 --> 00:07:09,781
throughout his young adult life.
133
00:07:10,591 --> 00:07:14,121
He attempted to study theology
and was a lay preacher.
134
00:07:14,871 --> 00:07:18,631
He also took jobs as an art
dealer and a schoolmaster.
135
00:07:19,461 --> 00:07:23,621
In 1880, at the age of 27,
and at the urging of his
136
00:07:23,621 --> 00:07:27,592
brother Theo–but much to their
parents’ chagrin–Van Gogh
137
00:07:27,621 --> 00:07:30,102
decided to become an artist.
138
00:07:31,261 --> 00:07:32,901
He was largely self taught.
139
00:07:33,651 --> 00:07:37,351
His early works focused
on peasant life, farmers,
140
00:07:37,422 --> 00:07:38,951
weavers, and workers.
141
00:07:40,091 --> 00:07:44,701
He moved to Paris in 1886, six
years after he had decided to
142
00:07:44,702 --> 00:07:48,432
pursue art, where he encountered
the work of the Impressionists.
143
00:07:49,291 --> 00:07:52,111
Here, he transitioned
away from a dark palette.
144
00:07:53,291 --> 00:07:56,901
As his work grew progressively
brighter, he developed his own
145
00:07:57,031 --> 00:08:01,431
style of painting, his iconic
short and layered brush strokes.
146
00:08:02,371 --> 00:08:06,231
At this time, he also discovered
Japanese woodblocks, which
147
00:08:06,231 --> 00:08:11,172
inspired his bold outlines and
cropping, as seen in Irises.
148
0:08:11,172 --> 00:08:12,422
[Nature sounds begin]
149
00:08:12,422 --> 00:08:17,291
Nature, gardens, can be places
for recovery and rejuvenation.
150
00:08:17,901 --> 00:08:21,691
But did Van Gogh’s composition
hold a deeper symbolism as well?
151
00:08:22,571 --> 00:08:25,591
The lines of the composition
seem to direct the viewer’s
152
00:08:25,591 --> 00:08:28,542
attention to the single
white iris near the left
153
00:08:28,581 --> 00:08:29,751
edge of the painting.
154
00:08:30,371 --> 00:08:34,231
Leaves, flowers, even the
artist’s signature seem to point
155
00:08:34,241 --> 00:08:35,931
towards the singular bloom.
156
00:08:37,071 --> 00:08:39,882
It has been suggested that
this flower might be a kind
157
00:08:39,882 --> 00:08:44,041
of self-portrait: the one
that is isolated, stands
158
00:08:44,041 --> 00:08:46,021
out, doesn’t quite fit in.
159
00:08:46,821 --> 00:08:49,451
But is that what Van Gogh had
in mind when he painted it?
160
00:08:50,282 --> 00:08:51,052
We don’t know.
161
00:08:51,952 --> 00:08:55,532
Yet its inclusion nevertheless
provides an anchor to
162
00:08:55,532 --> 00:08:57,412
the complex composition.
163
00:08:58,252 --> 00:09:00,332
The painting wouldn’t
be the same without it.
164
00:09:00,862 --> 00:09:02,962
And he guides our
eye right to it.
165
00:09:04,692 --> 00:09:08,541
This painting offers itself
up as an invitation to
166
00:09:08,541 --> 00:09:10,072
get low to the ground.
167
00:09:10,622 --> 00:09:12,811
To come face-to-face
with the flowers.
168
00:09:13,421 --> 00:09:15,982
To pay attention to
things overlooked.
169
00:09:16,741 --> 00:09:20,991
To be fully immersed in the
beauty and gift of nature.
170
00:09:21,792 --> 00:09:26,051
And Van Gogh understood this to
be a mindful activity, writing
171
00:09:26,051 --> 00:09:31,111
just a couple months later,
“I feel obliged to go out and
172
00:09:31,112 --> 00:09:35,501
look at a blade of grass, the
branch of a fir tree, an ear of
173
00:09:35,501 --> 00:09:38,171
wheat, in order to calm down.”
174
00:09:39,531 --> 00:09:43,321
So let’s accept this invitation
to imagine ourselves fully
175
00:09:43,351 --> 00:09:47,291
present, aware of our
senses and the sensations
176
00:09:47,321 --> 00:09:48,671
of the world around us.
177
00:09:48,671 --> 00:09:51,651
[Gong, then gentle music]
178
00:09:51,651 --> 00:09:53,251
If you feel comfortable, I
invite you to close your eyes.
179
00:09:53,932 --> 00:09:56,911
If you would prefer to keep
your eyes open, that’s ok.
180
00:09:57,222 --> 00:10:00,661
Just lower your gaze and
lower your lids to minimize
181
00:10:00,821 --> 00:10:03,531
visual distraction.
182
00:10:03,691 --> 00:10:05,631
Use this time to go inward.
183
00:10:07,751 --> 00:10:11,522
And adopt a posture that
feels both relaxed and
184
00:10:11,522 --> 00:10:16,111
alert in your body, whatever
that means for you today.
185
00:10:18,291 --> 00:10:19,911
Feel a sense of ease.
186
00:10:24,831 --> 00:10:28,561
And let’s begin by taking a
few deep breaths together.
187
00:10:29,452 --> 00:10:30,941
In through your nose.
[inhales]
188
00:10:33,312 --> 00:10:36,561
Out through your mouth.
[exhales]
189
00:10:36,562 --> 00:10:38,801
Arriving with each breath in,
190
00:10:41,471 --> 00:10:43,261
settling with each breath out.
191
00:10:45,901 --> 00:10:47,211
Deep inhale.
192
00:10:49,931 --> 00:10:51,481
Deep exhale.
193
00:10:55,591 --> 00:10:58,642
And just let your breathing
resume its natural rhythm.
194
00:11:00,411 --> 00:11:04,721
So there’s no need to force
or extend anything here.
195
00:11:06,161 --> 00:11:09,251
Just let your body do what
it does very naturally.
196
00:11:15,722 --> 00:11:20,481
And see if you can pay attention
to the way that the breath
197
00:11:20,511 --> 00:11:22,912
moves in and out of the body.
198
00:11:24,761 --> 00:11:27,101
You can get very
specific with this.
199
00:11:27,991 --> 00:11:31,501
Notice, for example, what’s
the texture like today?
200
00:11:33,331 --> 00:11:35,491
Is it smooth or bumpy?
201
00:11:37,401 --> 00:11:39,571
What’s the temperature
like every time I breathe
202
00:11:39,571 --> 00:11:40,911
in and breathe out?
203
00:11:42,791 --> 00:11:46,441
Is it warm or cool on
my inhale and exhale
204
00:11:46,441 --> 00:11:47,961
right around my nostrils?
205
00:11:49,532 --> 00:11:51,171
Just notice for yourself.
206
00:11:51,171 --> 00:11:51,181
207
00:11:51,181 --> 00:11:59,302
And see if you can follow
that breath in through
208
00:11:59,302 --> 00:12:02,672
your nasal passage and
down into your chest.
209
00:12:05,702 --> 00:12:09,112
Notice the rise and fall of
your chest with each breath
210
00:12:09,142 --> 00:12:12,112
in and each breath out.
211
00:12:16,401 --> 00:12:18,452
If your breath is
deeper than that, again,
212
00:12:18,462 --> 00:12:19,811
no need to force it.
213
00:12:21,071 --> 00:12:27,791
But if you can feel your breath
in your soft belly, notice your
214
00:12:27,792 --> 00:12:31,602
belly inflate and deflate like
a balloon with each breath,
215
00:12:35,121 --> 00:12:37,422
expanding and collapsing.
216
00:12:44,481 --> 00:12:47,982
And if your mind
wanders, that’s okay.
217
00:12:51,211 --> 00:12:56,041
Just notice the thoughts as
they arise and gently bring your
218
00:12:56,041 --> 00:12:57,721
awareness back to your breath.
219
00:13:00,181 --> 00:13:03,461
Use your breath as your
anchor to the present moment.
220
00:13:08,681 --> 00:13:17,321
Nowhere else to be, nothing
else to do but to be here now.
221
0:13:17,321 --> 00:13:29,431
[Silence]
222
00:13:29,431 --> 00:13:32,531
Another anchor to the
present moment is sound.
223
00:13:33,961 --> 00:13:35,832
Sounds are so spontaneous.
224
00:13:35,832 --> 00:13:39,641
We really never know what the
next sound is going to be.
225
00:13:42,382 --> 00:13:48,151
So tune into your environment,
however subtle or obvious.
226
00:13:49,611 --> 00:13:54,381
Notice how sounds
arise and dissipate.
227
00:13:54,381 --> 00:14:04,702
[Silence]
228
00:14:04,702 --> 00:14:08,051
And without a need to create
a story or a narrative around
229
00:14:08,051 --> 00:14:13,591
the sounds, notice for yourself
what is the closest sound
230
00:14:13,591 --> 00:14:15,601
that I can hear right now?
231
00:14:18,961 --> 00:14:23,431
And what is the farthest sound
that I can hear right now?
232
00:14:27,301 --> 00:14:30,742
And can you visualize the
space between those two sounds?
233
00:14:32,172 --> 00:14:34,971
How near or far are
they from one another?
234
00:14:38,661 --> 00:14:39,761
Letting that go.
235
00:14:43,002 --> 00:14:47,761
And I invite you to
notice the sensation of
236
00:14:47,791 --> 00:14:49,671
air on your skin, the
237
00:14:52,482 --> 00:14:54,582
temperature on your skin.
238
00:14:59,662 --> 00:15:04,591
Noticing the texture of
the clothes on your skin.
239
00:15:07,712 --> 00:15:11,612
And feeling into the surface
upon which you’re seated
240
00:15:12,391 --> 00:15:14,501
or standing or lying down.
241
00:15:18,321 --> 00:15:21,792
Coming into contact with
these surfaces through touch.
242
00:15:26,411 --> 00:15:30,561
Notice any lingering
scents in your environment,
243
00:15:32,851 --> 00:15:35,102
which aromas are present.
244
00:15:38,522 --> 00:15:41,511
Or is there an absence
of strong smells here?
245
00:15:45,682 --> 00:15:50,071
Without resisting or pushing
away, just notice them.
246
00:15:55,841 --> 00:16:00,121
And finally, notice how
these senses blend together,
247
00:16:01,981 --> 00:16:06,102
bringing your conscious
awareness to your physical body
248
00:16:08,931 --> 00:16:09,991
present here.
249
00:16:12,901 --> 00:16:15,582
Notice the sensations
in your body.
250
00:16:19,971 --> 00:16:23,582
And let’s close by taking
a deep breath together.
251
00:16:23,852 --> 00:16:27,301
Inhale.
252
00:16:27,301 --> 00:16:32,121
Exhale.
253
00:16:32,121 --> 00:16:37,321
If your eyes are closed,
gently open them, coming back
254
00:16:37,331 --> 00:16:42,601
to your environment, slowly
bringing your awareness back
255
00:16:42,632 --> 00:16:44,181
to the space that you’re in.
256
00:16:44,181 --> 00:16:48,281
[Theme music begins]
257
00:16:48,431 --> 00:16:52,421
As we return to the world,
let’s carry this sense of
258
00:16:52,471 --> 00:16:54,551
presence and awareness with us.
259
00:16:56,101 --> 00:16:58,742
Look at things around
you as if you are seeing
260
00:16:58,742 --> 00:17:00,671
them for the first time.
261
00:17:01,952 --> 00:17:06,931
Notice colors, shapes, and
light, and notice how your
262
00:17:06,931 --> 00:17:10,151
senses contribute to your
experience of the moment.
263
00:17:11,051 --> 00:17:16,171
Feel yourself there, fully
present, grounded in your
264
00:17:16,172 --> 00:17:18,041
body and surroundings.
265
00:17:19,752 --> 00:17:23,491
Use it as a reminder to be
in the present moment, and
266
00:17:23,491 --> 00:17:25,131
notice how it makes you feel.
267
00:17:27,282 --> 00:17:30,031
Let’s return to our breath
one last time and close our
268
00:17:30,041 --> 00:17:33,622
practice by taking the biggest
breath you’ve taken all day.
269
00:17:34,341 --> 00:17:37,502
In. [inhales]
270
00:17:37,502 --> 00:17:40,172
Sigh it out. [exhales]
271
00:17:40,172 --> 00:17:40,572
272
00:17:40,761 --> 00:18:13,661
Thank you so much for joining
me.
273
00:18:13,661 --> 00:18:23,992
[Music slowly fades out]
