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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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MIA: Paintings (Bot) @miapaintings.bsky.social · 29m

Marrata frame collections.artsmia.org/art/25579

frame, Marratti style, with outer gadroon and inner alternating acanthus and shield, stick and husk molded borders, carved gilt wood. On Reynolds, "Child Baptist in the Wilderness", 68.18.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 4h

Lowry Hill, Minneapolis collections.artsmia.org/art/803

Landscape. Minneapolis, Minnesota.
St. Paul native Alexis Jean Fournier painted a series of six views of Minneapolis in the summer of 1888, three of which are in Mia’s collection. The area known as Lowry Hill was named for Thomas Lowry, a Minneapolis lawyer, real estate investor, and streetcar company owner of the late 1800s. The Hill was home to some of the wealthiest people in Minneapolis, and some houses built in Fournier’s time still stand. Today, the Hill is bounded on the north and west by interstate highways.

MIA: Paintings (Bot) @miapaintings.bsky.social · 6h

Ruins of Paestum collections.artsmia.org/art/1861

Landscape.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 21h

The Village collections.artsmia.org/art/1852

The Village

MIA: Paintings (Bot) @miapaintings.bsky.social · 22h

Farm Among Hills, Giverny 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.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 09/10/2026

Landscape collections.artsmia.org/art/3315

Landscape.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 09/10/2026

Saint Lucy collections.artsmia.org/art/1697

from a polyptych, arched top (pointed)

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MIA: Paintings (Bot) @miapaintings.bsky.social · 09/10/2026

Reminiscences of 1865 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.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 08/10/2026

Was It For The Best? collections.artsmia.org/art/10441

Was It For The Best?

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MIA: Paintings (Bot) @miapaintings.bsky.social · 08/10/2026

Rue à Stains collections.artsmia.org/art/1537

Rue à Stains

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MIA: Paintings (Bot) @miapaintings.bsky.social · 08/10/2026

Merry and Rowdy Peasants at an Inn collections.artsmia.org/art/2808

Dancing, drinking and amorous peasants in LRC; bathers in water at right; village buildings in distance
It seems harmless, even humorous, by today’s standards of social life. But this painting was meant to moralize about the dangers of drinking too much. Wouwermans infused his peasants with an individuality and naturalness of gesture that leaves no doubt about their drunken behavior: some are skinny-dipping, a few are being helped home, and one peasant is about to relieve himself on a fence post.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 08/10/2026

Fire-Ice-Water-Tent collections.artsmia.org/art/127140

abstract image of flames bursting from waving blue and green lines resembling water; triangular crystalline structure UC; waving gray lines resembling plumes of smoke around upper edges

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MIA: Paintings (Bot) @miapaintings.bsky.social · 08/10/2026

A Landscape with a Herd of Pigs, The Swineherd Conversing with Another Man collections.artsmia.org/art/126882

two men at left--one standing man wearing a hat holding a staff, looking down to PR, and seated gesturing man with short beard; small group of pigs of various colors and sizes to right of men at center bottom; figure and dog in middle ground at right; two horse pulling a covered wagon right of center in middle ground; expansive landscape behind figures with clouds in sky
The wealthy urban merchants of Holland in the 1600s relished humorous images of rural peasants, farms, and animals found in the countryside that surrounded the cities. Paulus Potter specialized in pictures of Dutch cows and hogs, painted in detail and with great affection. Here, two animated farmers or swineherds catch up near a crumbling well structure, while nine hogs sleep and stand around them. The hogs are the real subject matter of the painting, and each of them has individual features and a seemingly independent personality. If you were to have a party with pigs, you would definitely want to invite this group—but perhaps not the urinating swine on the far right.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 07/10/2026

Portrait of Alfred F. Pillsbury collections.artsmia.org/art/838

Portrait.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 07/10/2026

Portrait of Captain Samuel Chester Reid collections.artsmia.org/art/727

Portrait. American flag. One of a series of portraits of heroes of the War of 1812.
Captain Samuel Reid was one of the heroes of the War of 1812, defeating the British in 1814 and saving New Orleans from British conquest. In 1817, two years after this portrait was painted, Reid designed the present pattern of the American flag of stars and bars, with thirteen stripes representing the original American colonies and a new star being added each time a new state is admitted to the Union. The flag depicted in this portrait shows a style of American flag with white stripes on the outer edges, one of the unconventional versions of the flag which preceded Reid's standardization.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 07/10/2026

Trial collections.artsmia.org/art/1331

Abstract expressionist.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 07/10/2026

Winter Landscape 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.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 06/10/2026

Place du Théâtre Français, Paris: Rain collections.artsmia.org/art/129

La Place du Théâtre Français (Pluie)
After a chronic eye infection limited the amount of time Camille Pissarro could spend outdoors, he began a series of views of Paris seen from hotel windows. Hoping to show the beauty of the bustling city, he painted this view down the Avenue de l'Opera and other vistas at different hours and seasons, and under varying weather conditions.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 06/10/2026

Woman with a Mirror collections.artsmia.org/art/1879

Although Delvaux never participated formally in the Surrealist movement, he is visually involved with the "painters of the dream", particularly with Magritte and de Chirico. His smooth, detached style is closely akin to that of the Surrealists. Delvaux never employed the strange juxtaposition or incongruities found in Magritte's work, nor the jumbled perspective of de Chirico. But, his paintings do present a mysterious obtuse reality. Woman is the center of his dream world, silent, waiting, and always with sexual undertones.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 06/10/2026

Backman collections.artsmia.org/art/125886

cartoon images inspired by comic book flow: Backman in yellow lettering against orange cloud ULC; gun pointed at a pink tear-drop with puncture hole and red droplets; hand at URC holding an image of a woman with red hair in a white dress; two figures in blue looking toward a door with shadow of a male figure in a hat at L; double-faced man against background of rings and woman's underwear at R; muscle-bound faceless figure LL, car lower C; scene inside car with man about to run over muscle figure; in silver frame
Jim Nutt first attracted international attention as a member of a six-member group called the Hairy Who. They exhibited together several times between 1966-69 around the country but were based initially Chicago. The group espoused no collective philosophy or formal manifesto but came together out of shared sensibilities. Comics, humor, hygiene ads, vernacular material culture in Chicago (hand-painted signs, pinball machines, product catalogues), and bawdy puns populated their work. Among artists drawing on popular culture in the 1960s, they gravitated to the odd, the disturbing, and the ultra-local. Nutt’s Backman exemplifies these tendencies in their work in 1966; exquisitely made in a painstaking technique (the image was painted on the reverse side of a piece of pristine smooth Plexiglas) but with a comics subject matter that is invented, absurdist, violent and perplexing.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 06/10/2026

Evening, Storm Clearing Off collections.artsmia.org/art/109318

group of figures at water's edge, with one figure wading, holding a long stick into the water; twilight; darker clouds tinged with red high in sky; some white clouds and blue sky in middle of image; belt of trees at right; windmill at left on horizon in distance
John Linnell was one of the most successful and influential landscape painters active in Great Britain during the first half of the 19th century. Along with John Varley, he pioneered the regular practice of plein-air painting along the Thames and in the suburbs of London. The intensity and the poetic sublimity of this representation of naturalistic phenomena are typical of Linnell's most accomplished works. It is a view of nature that would resonate through the 19th century not only in the works of many British imitators but also in those of many American painters, in particular those affiliated with the British-born artist Thomas Cole, his protégé Frederic Church, and their circle of Transcendentalists.

MIA: Paintings (Bot) @miapaintings.bsky.social · 06/10/2026

Angels with Attributes of the Passion: Angel Holding the Vessel and Towel for Washing the Hands of Pontius Pilate collections.artsmia.org/art/1733

Part of a series of 12 paintings by Vouet of angels holding symbols of the Passion; other is 69.36.2
This angel carries symbols of the Passion—the events associated with Jesus Christ’s suffering and death. The pitcher, basin, and cloth represent those used by Pontius Pilate to wash his hands of responsibility for Christ’s crucifixion.The painting belongs to a series of twelve angels carrying symbols of the Passion, which were painted for a private patron in Rome, Ascanio Filomarino, later appointed a cardinal of the Church and archbishop of Naples. Simon Vouet was one of the most important painters of his generation in France, ultimately serving as First Painter to King Louis XIII. From 1612 to 1627, he worked in Rome. These angels were among the last works he painted there, completed just months before his return to France. In Paris, he helped introduce French artists to the Baroque style: high drama, rich color, intense light, and dark shadows. /// We are grateful to Sebastian Schütze for clarifying the provenance of this painting.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 05/10/2026

Mill Pond at Minneapolis collections.artsmia.org/art/750

Landscape. Minneapolis, Minnesota.
This view of the mill pond in Minneapolis was painted from the west side of the Mississippi River, looking toward the University of Minnesota. It shows the Stone Arch Bridge, commissioned by railroad magnate James J. Hill and completed in 1883.

MIA: Paintings (Bot) @miapaintings.bsky.social · 05/10/2026

Saints in Glory collections.artsmia.org/art/1590

unframed; bozzetto (sketch) of a tentative grouping for a fresco decoration. Male saints

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MIA: Paintings (Bot) @miapaintings.bsky.social · 05/10/2026

Portrait of Dr. Thomas Penrose collections.artsmia.org/art/10433

Portrait of Dr. Thomas Penrose holding a sketch book, seated on a bank overlooking the Duomo and Palazzo Vecchio, Florence, Italy.
Louis Gauffier was one of many French artists who fled Rome in 1793 in order to escape Roman reprisals following the execution of Louis XVI in France. Arriving in Florence, Gauffier the history painter adopted a portrait genre based on the flourishing market for commemorative likenesses of aristocrats set in characteristic landscapes of the region. Thomas Penrose (1769-1851) was neither an artist (as the sketchbook he holds suggests), nor an aristocrat. However, the sitter had diplomatic ambitions and, at the time of this portrait, was serving as secretary to the English envoy to the Duke of Tuscany. With a high degree of finish, Gauffier depicts Penrose above Florence on an upper terrace of the Boboli gardens.

MIA: Paintings (Bot) @miapaintings.bsky.social · 05/10/2026

River Landscape with a Ferry collections.artsmia.org/art/730

Dutch landscape. Golden Age of Holland. A wide river with various river craft, which stretches across the width of the canvas and flows to meet the horizon. In the far right distance, a village can be seen through a gentle mist, while on the wooded bank to the left, a cart filled with singing and shouting peasants stands before a row of cottages. As they wave to the boatload of passengers approaching the shore, a ferryboat loaded with cattle pushes off. Further upstream, a boat in full sail carries its passengers toward the distant hamlet with its church steeple.
Nothing could be more Dutch than boats on a wide river under a cloudy sky: a ferry approaching shore, a rowboat out for a joy ride, a sailboat heading to the horizon. Water was crucial to Holland’s flourishing economy, with rivers and canals serving as its main commercial arteries. To the Dutch, such images of serene rivers and boats were emotionally resonant, underscoring the peacefulness and affluence of their newly independent country.

MIA: Paintings (Bot) @miapaintings.bsky.social · 05/10/2026

Study for Portrait VI collections.artsmia.org/art/1355

The human figure was Francis Bacon's principal object of study throughout his career. This picture belongs to a series of eight paintings, which began as a portrait of Bacon's friend and biographer David Sylvester but became, in the final project, studies of a seated pope. Inspired by Eadweard Muybridge's sequential photos of the human body in movement, Bacon made his figures more and more agititated until, in the final painting, the pope is convulsive. Here his ambiguous facial expression rests somewhere between the grimace of Portrait V and the horrific scream of Portrait VII. This painting is one of the first Francis Bacon paintings acquired by an American museum.

MIA: Paintings (Bot) @miapaintings.bsky.social · 04/10/2026

Portrait of a Lady collections.artsmia.org/art/392

Three quarter length portrait of a lady in white dress with a blue satin scarf draped over right arm and shoulder, and wrapped around the figure to be held in left hand. Pink ribbon knots at belt and sleeves and pink rose at breast. The girl has dark hair and wears a necklace of pearls. She is leaning with her right arm on a column and there is a landscape in the background. Wide scrolled gold frame.

MIA: Paintings (Bot) @miapaintings.bsky.social · 04/10/2026

Still Life of Dead Birds collections.artsmia.org/art/4494

Still life with dead birds
There were not many hunters in the northern Netherlands when Jan Vonck was painting in the 1600s. Yet he focused almost exclusively on hunting trophy pictures like this one. The birds rest on a rustic table, the hard wood supporting their soft, feathered bodies. Vonck painted the birds with such care and detail that they can be identified: the leftmost bird with yellow on its wing is a goldfinch, the small red-breasted bird is a bullfinch, and the large bird tied up by its leg is a partridge. We can’t identify the dark-bodied bird with the brown head in the center—if you can, fill out a comment card.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 04/10/2026

The Fugitives collections.artsmia.org/art/1241

Daumier's painting, The Fugitives, was his last and most dramatic rendering of the refugee theme and might refer to events surrounding the onset of the Franco-Prussian war, or to the insurrection of the commune in France in 1870. Daumier was less interested in depicting specific events than in responding to the depth of human suffering caused by these events. The bas-relief sculpture is one of Daumier's earliest expressions of the theme of exile, which he explored frequently between 1848 and 1870. Although possibly inspired by the Polish Revolution or the 1848 insurrection in France, the precise subject remains unknown.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 04/10/2026

Imaginary Landscape, Italian Harbor Scene collections.artsmia.org/art/1626

Harbor in Italy

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MIA: Paintings (Bot) @miapaintings.bsky.social · 04/10/2026

Untitled collections.artsmia.org/art/100457

abstract image with blue, white, yellow, red and orange sketchy ground; green animal-like image with open mouth-like element at bottom

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MIA: Paintings (Bot) @miapaintings.bsky.social · 03/10/2026

Portrait of Elizabeth L. Burton collections.artsmia.org/art/577

Portrait. Three-quarter figure facing spectator, right hand on back of chair; left on hip. Hair worn in pompadour style of early twentieth century. Greyish-blue taffeta dress trimmed with ruching of cocoa brown silk.
Elizabeth Burton was a painter who lived near Eakins. Before this work could be completed, she left Philadelphia for British North Borneo (now the state of Sabah in Malaysia).

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MIA: Paintings (Bot) @miapaintings.bsky.social · 03/10/2026

Castle on the Rhône River, France 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.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 03/10/2026

Way to Emmaus collections.artsmia.org/art/2488

One of a pair; the other is "Pentecost", 77.27.2
After Christ's death and ascension into heaven, he appeared to his disciples several times. On this occasion, he walked with two of them on their way from Jerusalem to the neighboring village of Emmaus. They did not recognize him until later at supper. Christ is dressed as a pilgrim, carrying a staff and wearing a broad-brimmed hat. The village of Emmaus is called castellum, or "castle" in Latin, and is therefore sometimes depicted as a fortified town. This panel and its companion, Pentecost, were originally the wings of a small portable altarpiece.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 03/10/2026

Still Life with Fruit collections.artsmia.org/art/1737

Still Life.
In 19th-century America, a growing wealthy class desired artworks that reflected a life of leisure and abundance. Still lifes and genre paintings filled the bill, simultaneously mirroring and augmenting the material richness of American homes. Trained as a porcelain painter in his native Germany, Severin Roesen became a renowned painter of still lifes after immigrating to the United States in 1848. Conservation of this picture was made possible by a generous contribution from Douglas and Mary Olson through the Art Champions program.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 03/10/2026

Girl by a Stream, Flanders collections.artsmia.org/art/1544

Genre. Female in a landscape standing by a stream, holding a scythe. Next to her is a large burlap sack of flowers and grasses.
Genre paintings—images of common people engaged in everyday activities—appealed to wealthy Americans of the 1800s. Works by the American artist Daniel Ridgway Knight, who spent much of his life in France, are typical of the rather sentimental scenes of country life popular at the time. This peasant girl has been mowing near the stream bank. She has piled the yellow-flowered cuttings into a large cloth bag and now stands resting with a melancholy gaze, her scythe at her side.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 02/10/2026

The Poorly Defended Rose collections.artsmia.org/art/1566

Seduction
The similar size, complementary subject matter, and the appearance of the same young woman in each of these paintings indicate that they narrate the beginning and end of a moralizing romantic tale. In The Poorly Defended Rose, both the lady’s inability to prevent her lover from picking the rose and the broken vase at her feet predict her moral compromise. In The Letter, with her seduction complete, she must subsist with the miniature portrait her lover has sent to make up for his absence. Michel Garnier’s delicate and highly polished painting style was particularly suited for depicting the elegant lifestyle of fashionable Parisians. The artist's detailed attention to decor accurately conveys the richness of the era's interiors. Although the narrative of these paintings is Rococo in sentiment, the solidly-modeled forms and their placement in a shallow picture plane are more typical of Neoclassical compositions.

MIA: Paintings (Bot) @miapaintings.bsky.social · 02/10/2026

Holy Family collections.artsmia.org/art/2031

With intense realism, and not-so-subtle symbolism, the Holy Family (Mary, Joseph, and Jesus) is caught in a very intimate moment. The young parents are cuddling their child, who for a moment stops suckling and stares at the beholder, heedless of the dove the father is showing him, which alludes to the Holy Spirit. The figures’ grave expressions anticipate the tragedy to come. In particular, the towel picked by Mary prefigures the shroud that will wrap her son after his death on the cross.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 02/10/2026

Gloucester Harbor collections.artsmia.org/art/10505

Waterfront landscape with boats and buildings.

MIA: Paintings (Bot) @miapaintings.bsky.social · 02/10/2026

Portrait of John R. Van Derlip collections.artsmia.org/art/15710

Portrait.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 02/10/2026

Still Life with Dahlias, Zinnias, Hollyhocks and Plums collections.artsmia.org/art/125879

large bouquet of flowers--mostly dahlias--in white, pink, orange and red, in a blue and white round jar; more flowers and plums in LRC
Today, Eugène Delacroix is often discussed as a painter of North African or Middle Eastern scenes, and of events drawn from the Bible or from ancient Greek and Roman history and mythology. Yet accounts from Delacroix’s lifetime confirm the artist’s lifelong preoccupation with flowers and gardens. His floral still-life paintings, though few in number, were some of his most influential works. They were seen as being focused on what Delacroix and his modern admirers considered the “abstract” side of painting—color, composition, and dazzling execution. This still life has little to do with botanical illustration. Rather, it is about pure painting, and as such is one of the earliest exercises by Delacroix on his course to transform the art of painting in France.

MIA: Paintings (Bot) @miapaintings.bsky.social · 01/10/2026

The Last Judgment collections.artsmia.org/art/1485

Last Judgment
When Michelangelo’s Last Judgment in the Sistine Chapel was unveiled in 1541, it elicited great wonder, as well as a thriving business in copies and a heated debate concerning the figures’ nudity. In 1564 the controversy was quenched when strategically placed draperies were painted to cover the most provocative parts. This panel is based on the Sistine model after its censorship. Although a number of figure groups have been eliminated, the overall composition remains largely the same. In particular, it emphasizes the figure of Christ as the supreme judge by isolating him and distancing him from the surrounding choirs of heaven.

MIA: Paintings (Bot) @miapaintings.bsky.social · 01/10/2026

The Holy Family in Egypt collections.artsmia.org/art/10561

The scene depicted is the Holy Family in Egypt during a moment of temporary refuge from the pursuing soldiers of King Herod. The artist has represented the Christ Child reading to the Virgin while Saint Joseph reclines inconspicuously in the background.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 01/10/2026

Tornado over St. Paul collections.artsmia.org/art/2490

Landscape.
Though not the most devastating tornado to hit the Twin Cities area—six dead, eleven injured—the Lake Gervais twister of July 13, 1890, became one of the most famous. When it struck, a photographer happened to have his camera set up on a bluff overlooking St. Paul. He captured dramatic images that were published as souvenir cards, which the Norwegian-born Minneapolis house painter Julius Holm used as the basis for this painting, created three years later.

MIA: Paintings (Bot) @miapaintings.bsky.social · 30/09/2026

The Falls of St. Anthony collections.artsmia.org/art/106527

waterfall with rock outcropping at center with bush; rocky bank on L and R; gold frame
Among all the artists who rushed to document the largely unsettled land west of the Mississippi River, Seth Eastman is the best-known interpreter of Minnesota Territory. Eastman had been trained in drawing at West Point military academy. He first came to Fort Snelling in 1829 and returned in 1841 as a commissioned officer for a seven-year stay. The Falls of St. Anthony shows the falls and adjacent riverbanks nearly untouched by the commercial development that would come with Euro-American settlement. The only hint, in the middle distance, is the first dam built above the falls (in 1848), between the east bank of the Mississippi and Nicollet Island.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 30/09/2026

Tower Bridge, London collections.artsmia.org/art/1426

Tower Bridge, London

MIA: Paintings (Bot) @miapaintings.bsky.social · 30/09/2026

Shepherd Boy Pointing at Tobias and the Angel collections.artsmia.org/art/1401

Boy seated in front under a tree with a yoke, buckets, and a jug, pointing to Tobias and the Angel walking on the right.
The shepherd boy, resting with his bucket, milk can, and yoke, guides our eye to travelers in the distance. They are Tobias and the archangel Raphael, whose tale is told in some versions of the Christian Bible. Tobias, a young Jewish man, was sent off by his blind father to recover the family fortune. Accompanying him on his trek were his dog and a guide—the archangel Raphael in disguise. Though we can see Raphael’s true identity, Tobias does not learn it until later. The story concludes with renewed fortune, restored eyesight, and a happy marriage for Tobias. In the 1500s and early 1600s, Dutch artists frequently combined scenes of everyday life with biblical subjects, often placing the Bible stories in the background. Bloemaert has left the meaning of this image open. Possibly the shepherd is indicating that people on a devout journey through life have a protector.

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MIA: Paintings (Bot) @miapaintings.bsky.social · 30/09/2026

Orchards at Louveciennes collections.artsmia.org/art/105380

line of trees and field on hillside overlooking village building at left

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MIA: Paintings (Bot) @miapaintings.bsky.social · 30/09/2026

Descent of the Bohemians collections.artsmia.org/art/6230

Descent of the Bohemians

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