Original gallery by Daniel Deverell Perry

Our first trip together to the Clark Art Institute was like the soft-focus idyll of its Renoirs. We pulled into Williamstown, Massachusetts, resplendent on a fall day.  Dressed for the occasion with blazer and sundress, respectively, we reviewed the guide, mapped out our route and dreamily strolled and sighed with admiration among the premiere artworks of the French Impressionists. We discussed each other’s favorites, which led to conversations about other trips, other art, and finally, the getting-to-know each other memories, which this visit would become much like Renoir’s depictions of families and friends.

The George Inness trip took us into the landscape of the world. Weekend excursions sometimes call for sightseeing selection and, on a trip the following summer, the focus was Mount Greylock, which is part of happy, boyhood camping memories for my friend and was indeed wonderful to visit.  Wistful, however, at the thought of passing by incredible art without a nod of respect, somewhat like going through town without at least a call to a local friend, our usual easy give and take resulted in a compromise regarding The Clark – a twenty minute stop.  In sneakers, shorts, and having adopted the Jersey Shore penchant for tee shirt collecting, a Stephen Crane House tee shirt, which in New England elicited the occasional thumbs up and playful shouts of “Denny Crane!” the William Shatner character from “Boston Legal,” I raced past works by Sargent, Remington, Turner, Hokusai, Madrazo, Cassatt, della Francesca, and Degas to find the New Jersey paintings by George Inness and Winslow Homer, undertaking with abandon the sacrilege of photographing paintings for social media when time for note-taking and creative photos was out of the question. Dashed out, returned to the car, and with a nod to my friend who was studying the map, noted, “Fifteen”.

The June return was our unrushed Alma-Tadema savoring of details having had a winter preview of his work by Clark curators at New York City’s The National Arts Club . Revisiting art museums allows us all to get off the bucket list treadmill, look around, and enjoy talking with people. Like taking in a Berkshire sunset on the beautiful Clark grounds, the art is different every time we view it. As a place of growth, The Clark literally changes with new artworks, buildings, and exhibitions. The cinematic painter Sir Lawrence Alma-Tadema created a splendid music room for Gilded Age magnate Henry Marquand and the first-time restoration of its highlights is all about the exquisite design that created not only an impressive, but a serene space, much like the museum, for family and guests to enjoy.

Visitors can view the art of Alma-Tadema in “Orchestrating Elegance” this summer, as well as exhibits: “Picasso: Encounters,” Helen Frankenthaler “As in Nature” and “No Rules,” 17th century Dutch artists “An Inner World,” the Thomas Schutte Crystal, and Community Access to the Arts (CATA) “I Am Part of Art” with the Lunder Center at Stone Hill, art “drawing attention to the ability within disability”.  If you have not been to The Clark think about wandering from the route this summer, or revisiting for a new view.  The Clark (clarkart.org) is part of a consortium with The Williams College Museum of Art (wcma.williams.edu) and MASS MoCA (massmoca.org) in nearby North Adams, both of which we look forward to visiting.

Part of “Symmetry”  travel series.  Posted July 13, 2017 on “Writing New Jersey Life” All Rights Reserved © 2017 Kathleen Helen Levey