“I can ID the leaves and the little ripples, the buds and the flower up at the top,” Ellen Rubin, an accessibility consultant, tells me over the phone from the library of CUNY’s Baruch College in New York. “For me, it seems quite busy because of all the background dots.”
Rubin, who has been legally blind since the age of 17, is describing Van Gogh’s Irises as she runs her fingers over a reproduction of the masterpiece. Created by Verus Art, a company that specializes in 3-D scanning and digital reproduction technology for fine art painting, the painting was made using the company’s 3-D scanning technology and an elevated color printing process. In collaboration with the National Gallery in Canada, the company is recreating a select group of paintings that will be used by the museum to make its collection more accessible to the vision impaired.
It’s part of a larger effort in recent years from museums that want to make their art accessible to the visually impaired. The Louvre was one of the first museums to set up a permanent gallery specifically for the visually impaired, opening its Tactile Gallery, where visitors can touch reproductions of art from its collection, in 1995. Since then, other museums have made accessibility for the blind a priority, too: the Denver Art Museum, Madrid’s Museo del Prado, and Florence’s Uffizi Gallery all have exhibitions that include touchable artworks. Meanwhile, the Museo Nacional de San Carlos in Mexico City also pioneered a concept of using collage to reproduce paintings that can be touched, according to the New York Times.
Though Rubin has been a frequent museum visitor all her life and now often works as a consultant to museums for their vision impaired programs, this is the first opportunity she’s had to experience Irises. When I asked her for her initial reaction, she said that it’s hard to get a sense of the painting as a whole. “I started from the top and moved to the bottom, so it takes a while before you can understand the whole thing,” she says. In general, paintings with a sharper contrast between the background and the subject, or distinct outlines around various features of the painting, are easier to take in. “But it wasn’t a drawback to the experience,” she says even-handedly. “It’s very impressive to touch a Van Gogh.”
To read the rest of this article, published in Co Design, please click here.