Same Difference. Siobhan Vivian

time to sketch and to contemplate the pieces. Please do not wander off.”

      Everyone shuffles up a wide staircase into the main hall. On the landing, there’s a big iron statue of Diana, goddess of the hunt, with bow and arrow pointed directly at us. It’s like she’s guarding the museum. I catch myself ducking out of her aim.

      We enter into the first gallery room, full of colorful paintings in gilded frames. Dr. Tobin gathers us around van Gogh’s Vase with Twelve Sunflowers. I recognize it right away. Ms. Kay has a poster of it hanging by the slop sink.

      “So who can tell me the artist of this painting?”

      I check to see if anyone raises their hands. But no one does. Could I possibly know something the rest of the kids here don’t? My hand tentatively leaves my pocket.

      “Who painted this picture?” Dr. Tobin repeats, frustrated.

      My arm is just about over my head when the entire room says “Van Gogh” in the most bored, tired voices.

      It’s not that I was the only one who knew the answer. It’s the obvious one everyone knows. I run my hand through my hair to play it off, but I’m sure my red cheeks give me away.

      “Now, let’s talk quickly about the Expressionist movement. Who can explain it?”

      Robyn’s hand shoots up. “That’s when artists play with color and texture to express emotions in personal ways.”

      “Exactly,” Dr. Tobin says. “I want you all to please look at the textures of this piece up close as we move along. Van Gogh was famous for his impasto style. Can anyone tell me what that is?”

      At least five kids raise their hands.

      I feel so completely ignorant. I have no idea what these words and terms mean.

      Once everyone moves to the next room, I stop and stare at Sunflowers. I get close enough that my nose almost touches the canvas, so I can see the brush strokes and the energy, stuff you could never ever see on a stupid poster. Instead of feeling inspired, I feel daunted. I’ll never be this good. Why even try?

      After looking at a bunch more nineteenth-century paintings, we make our way into the modern art wing.