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miapaintings.bsky.social
MIA: Paintings (Bot)
@miapaintings.bsky.social
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Sharing artworks from the Minneapolis Institute of Art's Paintings department. Not associated with the Minneapolis Art Institute.
Automated thanks to @andreitr.bsky.social and @botfrens.bsky.social
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Portrait of Moritz Buchner https://collections.artsmia.org/art/1324/
One of a pair of marriage portraits (see 57.10) These companion portraits have been identified as Moritz Büchner and his wife, Anna Lindacker Büchner. Moritz was a successful merchant and city alderman, part of the newly affluent middle class that emerged with the growth of capitalism in Germany in the 1500s. Lucas Cranach, the court artist to Frederick III of Saxony, was commissioned by the Büchners to paint their likenesses for posterity. Here, Cranach captures the confidence, pride, and ambition that often accompany newly acquired wealth and improved social status. The date of the painting appears with Cranach’s signature, a winged serpent, on the extreme left of Moritz’s portrait.
February 12, 2026 at 3:36 PM
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Massacre of the Innocents https://collections.artsmia.org/art/10235/
In the biblical story of the Massacre of the Innocents, King Herod orders the killing of all boys two and younger in Bethlehem, Jesus’ birthplace. Three magi (wise men) from the East had arrived in Jerusalem seeking the newborn king of the Jews, whose star they had seen. Taking this as a threat to his rule, Herod found out where the child was to be born and ordered the massacre—but Jesus was no longer there. The Holy Innocents, recognized as the first Christian martyrs, are commemorated in Christian worship. This painting is thought to be a study for a mural in a church in Naples, Italy .
February 12, 2026 at 2:36 PM
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Self Portrait https://collections.artsmia.org/art/21172/
Portrait. Greenman was a renowned portrait painter in the museum’s midst: she taught portraiture next door at what is now the Minneapolis College of Art and Design. She often painted the socialites of New York, Hollywood, and Florida, and in her self-portrait she portrays herself as the stylish society lady she was. In the 1920s, Greenman experimented with modern Expressionist elements, such as brash oranges, greens, and purples—radical by Minneapolis standards, which is perhaps why she painted herself against what appears to be Paris. Recent conservation of this picture was made possible by a generous contribution from Sam and Patty McCullough through the Art Champions program.
February 12, 2026 at 11:56 AM
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Soldiers Arming Themselves https://collections.artsmia.org/art/3710/
On the left, two soldiers caught up in the Thirty Years’ War are dressing, one lifting a bandolier over his head with several cylinders dangling—powder charges containing gunpowder for his musket. On the right, a soldier tickles the nose of a fellow fighter who has presumably passed out after draining the flask nearby. The tickler isn’t aware that his pocket is being picked. Not many Dutch soldiers actually fought in the war, which raged across central Europe from 1618 to 1648, yet paintings of these soldiers became wildly popular. The Thirty Years’ War began when Holy Roman Emperor Ferdinand II of Bohemia attempted to restrict the religious activities of his subjects. His Protestant subjects rebelled and sought support from their Protestant brethren, including the Dutch. The war ended with a series of treaties and the result was a reshaped religious and political map of central Europe.
February 12, 2026 at 9:45 AM
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Castle on the Rhône River, France https://collections.artsmia.org/art/581/
One of a pair of paintings, see also 39.9 Recent conservation of this picture was made possible by a generous contribution from an anonymous patron through the Adopt-a-Painting program.
February 11, 2026 at 7:46 PM
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Rothko with Child https://collections.artsmia.org/art/128307/
balding man with glasses in green suit seated on chair with small boy sitting on his PL leg; dark background
February 11, 2026 at 3:00 PM
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Portrait of Commander Lewis Warrington https://collections.artsmia.org/art/473/
Portrait of a man, waist-length, seated. Lewis Warrington entered the U.S. Navy as a midshipman in 1800 and steadily rose in rank. For his heroism in the War of 1812, Congress awarded him a medal. The hairstyle he sports in this portrait was the fashion of the day. After the French Revolution, men in Europe and America cast aside their long powdered wigs in favor of cropped face-framing locks, emulating the haircuts of ancient Roman statesmen. Conservation of this picture was made possible by a generous contribution from an anonymous patron through the Art Champions program.
February 11, 2026 at 10:00 AM
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Eighth Street https://collections.artsmia.org/art/60051/
Eighth Street
February 10, 2026 at 6:39 PM
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Spring https://collections.artsmia.org/art/17487/
Landscape. Wooden doors propped open to reveal a view with single tree and hills.
February 10, 2026 at 4:00 PM
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Frame https://collections.artsmia.org/art/3733/
frame, bolection profile in ebonized fruitwood with sight wave mouldings, ripple-and-reed panel and border mouldings; on 87.11 Dou, 'A Hermit Praying'
February 10, 2026 at 3:02 PM
miapaintings.bsky.social
Green https://collections.artsmia.org/art/21315/
Green
February 10, 2026 at 12:39 PM
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Portrait of Catherine Coustard, Marquise of Castelnau, Wife of Charles-Léonor Aubry with Her Son Léonor https://collections.artsmia.org/art/2487/
Portrait. Madame Aubry wears an ultramarine blue velvet dress, cloak lined with flowered brocade and a bodice of silver lamé with lace and rose ribbon. Her hand touches a whippet which may have belonged to the artist as it appears in other portraits. Her hair is styled à la Fontanges. She married into a family from Tours and later became the Marquise de Castelnau in the Berry region near Bourges. Catherine Coustard (1673–1728), who came from a family of well-to-do cloth merchants in Paris, married into the Aubry family of wealthy middle-class civil servants and statesmen from Tours. Seated, smiling, with her son leaning across her lap, she’s the picture of contentment. Her fortunes, always good, had just improved at the time this portrait was painted. Her father-in-law, after serving twenty years as secretary to the king, had recently been made a nobleman, a great step upward in family prestige that this picture commemorates.
February 10, 2026 at 9:13 AM
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Untitled https://collections.artsmia.org/art/1631/
Abstraction.
February 9, 2026 at 7:53 PM
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Seated Shepherdess https://collections.artsmia.org/art/1397/
Shepherd / shepherdess
February 9, 2026 at 3:33 PM
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Nordic Landscape with a Castle https://collections.artsmia.org/art/115871/
water in foreground cascading over rocks; lake at left middle ground; couple with dog in front of log house at right middle ground, with sheep grazing at right edge; castle on top of rocky peak, top center Dahl was the father of Norwegian landscape painting, the first artist to capture the majesty of his country's contours. He made this painting shortly after arriving in Dresden, Germany, to impress his teacher there, Caspar David Friedrich, the leading German Romantic artist. Friedrich's influence is seen in the modest scale of the man-made structures—the castle and the cottage—which heightens the grandeur of the landscape. Conservation of this picture was made possible by a generous contribution from Al and Dena Naylor through the Art Champions program.
February 9, 2026 at 1:12 PM
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Two Men Wrestling (recto),Tree (verso) https://collections.artsmia.org/art/25566/
Two Men Wrestling (recto),Tree (verso)
February 9, 2026 at 10:55 AM
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The Artist’s Mother Opening a Door https://collections.artsmia.org/art/5091/
two sided painting; verso, earlier street scene painted by Vuillard. Entitled 'Maisons, La Nuit', about 1897
February 9, 2026 at 8:34 AM
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The Blue House https://collections.artsmia.org/art/1415/
Of the three founders of the Fauve movement (the other two being Henri Matisse and André Derain), Vlaminck was certainly the most flamboyant. Rough and muscular, his career path (professional bicycle racer, gypsy violinist, and pulp novelist) had been as unorthodox as his approach to art. Taking van Gogh as his inspiration, Vlaminck squeezed brilliant colors out of tubes directly onto the canvas. This sensitivity to the physical qualities of paint and a love of the landscape are typical of the artist's paintings from this period.
February 8, 2026 at 6:42 PM
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The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola https://collections.artsmia.org/art/1673/
Canaletto’s hometown of Venice was his lifelong muse. He made at least three versions of this view of the Grand Canal. Fastidiously recording every window, door, and chimney along the thoroughfare, Canaletto captured the special qualities of this miraculous city on water—the stately architecture, the shimmering light, and, in the scattered figures and gondolas, the routine of daily life. The near photographic precision of his paintings made them especially popular with tourists, who bought them as mementos of their travels to Italy. Today, you can see this vista (approximately) from the train station.
February 8, 2026 at 4:25 PM
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Portrait of Alvina Roosen https://collections.artsmia.org/art/10517/
Portrait of a seated woman, three-quarter length pose.
February 8, 2026 at 2:55 PM
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Mining Village in Cornwall https://collections.artsmia.org/art/34167/
village; street on right side front to back; small fields upper left; water upper right; both sides of street with houses close together and a few scattered small trees; thickly painted Born in Philadelphia, Schofield first studied art at the Pennsylvania Academy before taking up studies in Paris in 1892 at the Académie Julian. The strict regimen of the academy did not agree with him, however, and he abandoned Paris for the Forest of Fontainbleau where he returned to painting directly from nature, much as he had done during his student years in Pennsylvania. Although he became an expatriate who lived in a succession of British cities, he maintained close contact with his American colleagues and, today, is generally considered a member of the Pennsylvania Impressionist group. Schofield found much inspiration in the surroundings of Cornwall (a region where he and his British wife first lived) and the contrasts between the quaint cottages and the expansive horizons of the Cornish coast were the basis of many works. The tipped-up landscape, high horizon line, and bravura brushwork--as well as a liberal use of saturated blues--are all hallmarks of the artist's style.
February 8, 2026 at 12:27 PM
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Murder in the Bronx https://collections.artsmia.org/art/128311/
mottled blue ground; gold frame like element with pair of American flags at bottom; flags, ribbons, spears and figures at top; outdoor scene at top inside frame with tree at right and building at left, with a man and woman at center, with the man holding a knife in his PR hand; figures in corners of scene; lower rectangular scene with figures including a seated figure with black hair with two children; thickly painted, impressionistic style lacking details
February 8, 2026 at 8:36 AM
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Moonlight Landscape https://collections.artsmia.org/art/10544/
Landscape.
February 7, 2026 at 5:49 PM
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Renoir https://collections.artsmia.org/art/128391/
standing woman with Afro hair wearing a colorful top and orange pants; PL hand rests on hip and a gold bracelet on PR wrist; stands in a corner with a mirror on left side; reflection of woman in the mirror with varnished brown background; blue floor with thin, gold border The woman shown here, Renoir, stands before a mirror, poised, cool, self-assured, and stylish. She was a friend of the artist, Marcia Marcus, and part of an inclusive community of artists, actors, writers, musicians and activists. Renoir’s clothing and hairstyle was daring and modern in 1968, the year she posed for Marcus, but feel current today despite that distance.
February 7, 2026 at 3:45 PM
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River Landscape with the Pellecussen Gate near Utrecht https://collections.artsmia.org/art/3221/
seventeenth-century Dutch landscape This river landscape illustrates the ambivalence of 17th-century Dutch realism, in which artists often depicted actual buildings and sites in otherwise imaginary compositions. The Pellecussen Gate shown here was a medieval tower guarding the towpath along the River Vecht between Utrecht and the village of Oud Zuilens, north of the city. But Jan van Goyen places it in an invented river town. In fact, van Goyen depicted the distinctive tower at least 12 times between 1640 and 1655, always in completely fanciful settings.
February 7, 2026 at 12:57 PM