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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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miapaintings.bsky.social
Cap Noir - St. Pierre https://collections.artsmia.org/art/121748/
Cap Noir - St. Pierre
December 1, 2025 at 6:01 PM
miapaintings.bsky.social
View of the Saône and the Château Pierre-Scize (Lyon, France) https://collections.artsmia.org/art/582/
One of a pair of paintings, see also 39.8. Conservation and framing of this picture was made possible by a generous contribution from C. Curtis Dunnavan and anonymous patrons through the Art Champions program.
December 1, 2025 at 5:32 PM
miapaintings.bsky.social
Fontainebleau Oaks https://collections.artsmia.org/art/135/
Landscape with cattle
December 1, 2025 at 1:00 PM
miapaintings.bsky.social
Cattle Grazing at the Water's Edge https://collections.artsmia.org/art/111283/
Cows near stream in meadow landscape; windmill in distance; guilded gold frame The Dutch used windmills to pump salty water out of intricately designed irrigation systems, over dykes, and into the sea. They reclaimed land from marshes in order to graze cattle on their cheese and dairy farms.
December 1, 2025 at 10:55 AM
miapaintings.bsky.social
Reminiscences of 1865 https://collections.artsmia.org/art/689/
Still life.Trompe l'oeil door, with ephemera tacked to the green door, including image of Abraham Lincoln, money, clippings, and labels. '1809', '1865' and 'ABE' are "carved" into the door. While many artists were celebrating America’s vastness and natural beauty, John Frederick Peto painted hyperrealistic trompe l’oeil (fool-the-eye) still lifes. Their somber mood and humble subjects speak of a nation still blighted by the destruction of the Civil War (1861–65). Affixed to this worn wooden door are objects that invite reflection on Abraham Lincoln’s life: an image of the assassinated president, his birth and death dates, the nickname Abe. The 25-cent paper money and the coin resembling an Indian Head penny were privately issued Civil War currency.
December 1, 2025 at 9:07 AM
miapaintings.bsky.social
Compages of Classical Figures https://collections.artsmia.org/art/128312/
abstracted image in muted multi-colored pigments; angular shapes in orange, brown and green on bottom edge; peach and green angular shapes in top center; muted brown and peach shapes in ULC
November 30, 2025 at 6:51 PM
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Italian Landscape with Figures https://collections.artsmia.org/art/113748/
landscape with ruins at left; group of partially draped seated and partially reclined figures in foreground, center; some standing figures in middle ground near ruins; mountains in distance at right
November 30, 2025 at 12:51 PM
miapaintings.bsky.social
Self-Portrait https://collections.artsmia.org/art/127144/
3/4 portrait of a man wearing a straw hat, outdoors against a background with ocean inlet and prairie; artist's paint palette in PR hand, brush in PL hand; wooden slat frame
November 30, 2025 at 12:07 PM
miapaintings.bsky.social
Judith with the Head of Holofernes https://collections.artsmia.org/art/2486/
Judith with Head of Holofernes
November 30, 2025 at 8:12 AM
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St. Anthony Falls as It Appeared in 1848 https://collections.artsmia.org/art/356/
Landscape. From 1846 to 1848, Lewis traveled up and down the Mississippi River making sketches for a huge panorama which he completed in Cincinnati, Ohio, in 1849. Those sketches remained a creative wellspring for him, and in later years he made additional paintings based on them. He painted this view of St. Anthony Falls (in Minneapolis) while he was living in Düsseldorf, Germany.
November 29, 2025 at 6:17 PM
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Night https://collections.artsmia.org/art/1521/
Abstraction. The forms of Night are rich with suggestion. Some vaguely resemble human anatomy, while others recall architecture. These ambiguous shapes seem to float and jostle on the canvas. Night belongs to a series of abstract black-and-white paintings--inspired by de Kooning's late-night walks in New York--that express the spirit and texture of the modern metropolis. The broken brushwork and areas of scraping and reworking suggest the nervous energy of urban life--or the inner turmoil of the artist. De Kooning was one of the most emotionally expressive Abstract Expressionists and an important influence on younger gestural painters.
November 29, 2025 at 3:51 PM
miapaintings.bsky.social
View of Tangier https://collections.artsmia.org/art/4578/
This painting once belonged to James J. Hill (1838-1916), the Minnesota railroad magnate whose collection of European paintings forms the basis of the Institute's nineteenth-century holdings.
November 29, 2025 at 12:56 PM
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Portrait of Robert Koehler https://collections.artsmia.org/art/83269/
sketchy image of man with brown hair and beard, in profile from PL, painting on a horizontal green surface; 2 frames in background, ULQ; light area, URQ The subject here, Robert Koehler, directed the Minneapolis School of Fine Arts (now the Minneapolis College of Art and Design) from 1893 to 1914. An artist himself, he was fiercely committed to American art and organized annual exhibitions that brought the best contemporary artists to Minneapolis. When Philip Little came to town to mount a solo exhibition, he also painted Koehler’s portrait. Skillfully balancing masses and forms, darkness and light, he shows Koehler sitting in his office (located in the public library) making an etching. Outlines of office and hotel buildings in 1910 Minneapolis are visible through the window.
November 29, 2025 at 10:33 AM
miapaintings.bsky.social
Under Union Square https://collections.artsmia.org/art/125041/
view of building with multiple levels that is predominantly yellow in color with blue, gray and black abstract sections across middle and into upper right quadrant; three columns extending vertically in foreground, with three levels visible behind columns; columns connect with vaulted ceiling across the top; street runs horizontally across lower quadrant; images of loosely sketched figures on middle floor interior; two rectangle shapes that resemble windows on top floor Isabel Bishop was a perceptive chronicler of New York and often painted around the bustling area around Union Square. This sparsely composed image of the massive subway station below Union Square was the first of three she made in 1957-58. Bishop was fascinated by the engineering marvel of the New York subway but she also pondered how the spaces felt. She struggled with the paradox of a solid, forbidding interior that served as a means for rapid movement; a place of crowds yet one of alienation.In a 1959 interview she stated that she liked the sense of “appearing and disappearing” that occurs in this version but strove in later variations to make it seem less like a “prison.”
November 29, 2025 at 9:14 AM
miapaintings.bsky.social
Farm Among Hills, Giverny https://collections.artsmia.org/art/107013/
line of farm buildings at L surrounded by fields and hillside; pale blue sky; large gold frame This work featuring the loose, visible brushwork characteristic of Impressionism is rather unusual for its geometric style. The entire image is composed of simple shapes that together form a rural landscape. Theodore Robinson made this painting during time spent in the French town of Giverny (about 50 miles northwest of Paris), where he studied with the Impressionist master Claude Monet. The two artists became close friends.
November 28, 2025 at 6:26 PM
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Portrait of John R. Van Derlip https://collections.artsmia.org/art/15710/
Portrait.
November 28, 2025 at 4:43 PM
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Winter Landscape https://collections.artsmia.org/art/7988/
Winter landscape. In his day, Hugh Bolton Jones was best known for his paintings of New England meadows. His landscapes reflect ideas of the Hudson River school, a group of painters who imbued their depictions of the American landscape with drama and emotion. Winter Landscape also shows Jones experimenting with the Impressionist style in his color choices and brushstroke technique. Conservation of this painting was made possible by a generous contribution from Douglas and Mary Olson through the Art Champions program.
November 28, 2025 at 1:16 PM
miapaintings.bsky.social
Evocation of Love https://collections.artsmia.org/art/1976/
10-1/2 x 18-1/4' This painting once belonged to James J. Hill (1838-1916), the Minnesota railroad magnate whose collection of European paintings forms the basis of the Institute's nineteenth-century holdings.
November 28, 2025 at 11:22 AM
miapaintings.bsky.social
The Choir in the Capuchin Church on the Piazza Barberini, Rome https://collections.artsmia.org/art/4382/
Unsigned
November 28, 2025 at 9:14 AM
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The Balloon Flight of Jacques Charles over the Place de la Concorde, Paris https://collections.artsmia.org/art/719/
Place de la Concorde, seen from the left bank of the Seine. Shows the beginning of the first manned hydrogen balloon flight from the Tuileries Garden, Paris to Nesle, a distance of twenty seven miles. On December 1, 1783, a crowd estimated at 400,000 people gathered to watch Jacques Charles and Aine Robert ascend in their hydrogen balloon. This painting records their historic flight from the Tuileries Gardens in Paris to the village of Nesle twenty-seven miles away - the longest hot-air balloon flight attempted up to that time.
November 27, 2025 at 5:58 PM
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The Alban Lake https://collections.artsmia.org/art/1349/
Landscape This painting once belonged to James J. Hill (1838-1916), the Minnesota railroad magnate whose collection of European paintings forms the basis of the Institute's nineteenth-century holdings.
November 27, 2025 at 3:50 PM
miapaintings.bsky.social
Zurich https://collections.artsmia.org/art/124690/
cityscape in bright color (predominately maroon, pink, green and blues) with two towers; clock tower at left; bridge with arches in middle ground; five boats behind dock in foreground, with two figures seated in one boat; two figures in foreground
November 27, 2025 at 2:27 PM
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The Destroyer https://collections.artsmia.org/art/108705/
view of the Grand Canyon; purples in the foreground, oranges in background; blue and purple shades in sky Dow traveled the American Southwest in 1911 and 1912, documenting the Grand Canyon. His unusual painting style fused an appreciation for Japanese woodblock prints—gained from his days as a curator of Japanese art in Boston—with the simplicity of the American Arts and Crafts movement. In this work, his use of color and visible brushstrokes emphasizes the immensity of the vast, exotic landscape of the Southwest.
November 27, 2025 at 11:51 AM
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Dance Training https://collections.artsmia.org/art/2724/
Alterations made to the painting in the 1920's; composition exists on verso of a woman after her bath. The many nudes in Kirchner's works reflect his interest in sexual freedom and the contemporary cults of nudity and athleticism. He also frequently used the dance atelier to symbolize his own studio, a communal workshop for members of The Bridge (Die Brücke). By combining nude figures with studio settings, Kirchner evoked the frank spontaneity and bohemian sensuality so admired by all the Brücke painters.
November 27, 2025 at 10:07 AM
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Portrait of an Ecclesiastic https://collections.artsmia.org/art/78/
Portrait. This Renaissance portrait is exceptional for its psychological force. In the mid-1500s, Giovanni Battista Moroni was northern Italy’s leading portraitist, admired for the intense naturalism and remarkable immediacy of his work. A clever illusion here is the book projecting over the marble ledge, as if into the viewer’s space. The unidentified sitter’s biretta (square cap), book, and black garment, and also the austere setting, indicate he belongs to the clergy, an important class of clientele for the artist. The painting is in superb condition. Even the dark pigments, which often fade over time, are well preserved—evident in the details of the man’s black cloak and hat.
November 26, 2025 at 6:34 PM