iiinova — where your digital self keeps evolving

MIA: Paintings (Bot)

@miapaintings.bsky.social

242 followers 3 following 3.7K posts

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

Posts Replies Media

MIA: Paintings (Bot) @miapaintings.bsky.social · 13h

The Studio collections.artsmia.org/art/1515

Portraits. Interior.
Although influenced by the Abstract Expressionists, as this painting's size and gestural style reveal, Larry Rivers remained committed to portraying recognizable figures. Here he depicts a nude African-American woman and also friends and family (from left to right: the poet Frank O'Hara; Rivers's sons, Joseph and Steven; and his mother-in-law, Berdie). Rivers himself appears in the pinned-up drawing at the upper right. This work refers to a masterpiece of a century earlier, The Painter's Studio, by the French realist painter Gustave Courbet. Like Courbet, Rivers examined his own artistic role and motivations by portraying his studio. The African-American woman holding a banner with the half-erased legend "Liberty" is an allusion to contemporary social and political problems.

000

MIA: Paintings (Bot) @miapaintings.bsky.social · 16h

Girl Running on Beach collections.artsmia.org/art/10438

Genre. Figural.

000

MIA: Paintings (Bot) @miapaintings.bsky.social · 19h

Portrait of a Noblewoman collections.artsmia.org/art/3594

Portrait of a young woman sitting against a green background. She holds a small psalm book. The book is actually a girdle prayer book, whether it is a psalm book or something else remains to be determined. NW 03/10
The woman in this portrait was likely connected to the English court or royal household. She wears a French hood and an elaborate gold brooch, both upper-class indicators. The scene on the brooch shows a seated woman playing what appears to be a lute, with the inscription “Praise the Lorde for ever more.” Her portable prayer book is encased in gold, a type of “girdle book” that was also a high-status item among ladies of the court.

MIA: Paintings (Bot) @miapaintings.bsky.social · 19h

Bronze collections.artsmia.org/art/1354

Abstraction.
Philip Guston began his career as a painter for the Works Progress Administration (WPA), the government-supported program that helped support arts and culture during the Depression years. Guston's contributions to public art during these years reflected his knowledge of Renaissance figurative painting and his interest in socially realistic subject matter. Today Guston is renowned for the highly original figurative art he created later in his career. However, he made a surprising and brilliant detour into abstraction during the 1950s. Long attracted to European painting of the 16th - 17th centuries, it was during a visit to Italy in the late 1940s that he immersed himself in the painterly work of the Baroque period. Studying its celebration of color, gesture, and movement, Guston felt that he could finally reconcile his interest in recognizable form with his impulse toward pure expression. Although we don't know for sure if Guston studied the paintings of Peter Paul Rubens, such as the one installed on the opposite wall, he most likely saw the European master's work while traveling in Europe. The similarities of color and structure between the Guston and Rubens paintings on view here are striking, as is their shared emphasis on movement, sensuality, and metamorphosis.

000

MIA: Paintings (Bot) @miapaintings.bsky.social · 23h

A Scene on the Tohickon Creek: Autumn collections.artsmia.org/art/1694

Landscape. Tohickon Creek, Pennsylvania.
Born in England, Thomas Moran came to America with his family in 1844. Moran painted this landscape shortly after returning from a European tour during which he studied the work of celebrated British landscape artist J.M.W. Turner (1775-1851). This painting is number thirty-three of a suite of forty-two canvases that he produced between 1863-68 depicting scenes of rural Pennsylvania. Shade and sun, closed spaces and open—this is a painting of contrasts. It presents an idealized vision of Tohickon Creek. From the shady foreground near the creek, we look out through an arch of trees to the open sky and hazy autumn landscape in the distance.

MIA: Paintings (Bot) @miapaintings.bsky.social · 14/10/2026

Frame collections.artsmia.org/art/3733

000

MIA: Paintings (Bot) @miapaintings.bsky.social · 14/10/2026

The Betrayal of Christ collections.artsmia.org/art/1341

Kiss of Judas: accompanied by soldiers with torches and lanterns, he kisses Christ. The scene is described in the Bible: Matthew 26:51, Mark 14:47, Luke 22:47, John 18:3-10 (Then Simon Peter, having a sword, drew it and struck the high priest's slave (Malchus) and cut off his right ear." John 18:10)
Looser and less formal than the portraits that made him famous, this work was completed shortly before Van Dyck began a six-year stint in Italy. It follows the biblical description of Jesus Christ’s betrayal in the Garden of Gethsemane. Judas, one of Jesus’ disciples, brings a band of soldiers and religious officers with lanterns, torches, and weapons to arrest Jesus, whom Judas identifies with a kiss.

000

MIA: Paintings (Bot) @miapaintings.bsky.social · 14/10/2026

Portrait of Mademoiselle Dubois collections.artsmia.org/art/103327

woman wearing a black hat, short maroon cape, long tan gloves and grey skirt, holding purple flowers and leaning on a black iron rail; tan awning behind woman; trees and foliage behind railing
Alfred Stevens built his reputation based on paintings of sumptuously attired, anonymous beauties who were representative of a type-la belle Parisienne. The Portrait of Mademoiselle Dubois, in contrast, is a bold statement built upon direct observation of one of his students with whom he was well acquainted. Her appraising and direct gaze, as well as her relaxed posture and confident demeanor, is a daring concoction and testifies to the artist's appreciation of her intelligence and character. These qualities are thrown into high relief by the stark expanse of awning behind her. Stevens' use of such a bold foil is an innovative touch of modernity that parallels those of his close friend, Edouard Manet. The compressed space also betrays Stevens' interest in Japanese spatial construction-a reminder that he was one of the first artists in Paris (along with Manet) to collect Japanese prints and objects.

000

MIA: Paintings (Bot) @miapaintings.bsky.social · 14/10/2026

The Bohemian Peasant Girl collections.artsmia.org/art/7989

Genre.

000

MIA: Paintings (Bot) @miapaintings.bsky.social · 14/10/2026

Carcass of Beef collections.artsmia.org/art/1325

Still life with meat.
Soutine grew up poor in a small Lithuanian town and continued to struggle as a starving artist in Paris. His years of deprivation gave him stomach ulcers, so he abstained from meat and other rich foods. Beginning to achieve success as an artist, he found himself, ironically, buying meat—but not to eat. He expressed his ambivalent relationship to food through paintings of butchered animals. Carcass of Beef shows the influence of Rembrandt’s Slaughtered Ox, a painting of an ox carcass strung up in a slaughterhouse. Soutine bought a steer’s carcass and put it up in his studio. As it rotted, his neighbors noticed the smell and called the health authorities, who suggested he inject the carcass with formaldehyde. He did so, but as the flesh dried it lost its vivid color. To solve the problem, Soutine bought blood from the slaughterhouse and applied it to the carcass.

MIA: Paintings (Bot) @miapaintings.bsky.social · 13/10/2026

Two Men Wrestling (recto),Tree (verso) collections.artsmia.org/art/25566

Two Men Wrestling (recto),Tree (verso)

000

MIA: Paintings (Bot) @miapaintings.bsky.social · 13/10/2026

I Raro Te Oviri (Under the Pandanus) collections.artsmia.org/art/601

Nabi. Tahiti. Landscape with two females and a dog.

000

MIA: Paintings (Bot) @miapaintings.bsky.social · 13/10/2026

The Gamblers collections.artsmia.org/art/1378

Two young men tell the old man he has lost the game. He needs to adjust his glasses to believe his bad luck. Is his sword enough insurance in case they’ve tried to cheat him' Hendrick ter Brugghen went to Italy in 1604 and stayed more than a decade. During that time he absorbed the style of Caravaggio, a painter famous for his high-contrast naturalism. Ter Brugghen brought that style home to Utrecht when he returned in 1616, yet by 1623 he had turned away from Caravaggio’s sharp contrasts of dark and light. As we see here, he developed his own style, with silvery, diffuse light and transparent shadows. And he was a leader of the Utrecht fashion for depicting gamblers playing cards, dice, and backgammon.

000

MIA: Paintings (Bot) @miapaintings.bsky.social · 13/10/2026

Battledore collections.artsmia.org/art/80860

standing woman dressed in green and turquoise robes, holding a badminton racket in her PR hand and a shuttlecock at her PL shoulder
Albert Moore (1841-1893) was a principal originator of the Aesthetic Movement, which dominated the decorative and pictorial art scene in Britain and America during the last half of the 19th century. Also known as "Art for Art's Sake", Aestheticism proscribed narrative subject matter and argued that beauty of form, color and composition were the sole ends of art. Moore's signature images of classically draped female figures, inspired by his study of the Elgin Marbles and often incorporating elements of Japanese design, began to appear in the mid-1860s. They would have a profound influence on James MacNeill Whistler, who considered Moore the most original artist of his generation. The title of our picture alludes to the racket used in badminton, a game of ancient origin, yet the true "subject" of Moore's painting is its exquisite technical assurance, its delicious array of linear patterning, and its seductive color harmonies.

000

MIA: Paintings (Bot) @miapaintings.bsky.social · 13/10/2026

Little Girl with Cat collections.artsmia.org/art/1920

Accepted into Record Book in 1972 (L72.132.8); given Perm. Coll. status as of April 26, 1979

MIA: Paintings (Bot) @miapaintings.bsky.social · 12/10/2026

Tahitian Landscape collections.artsmia.org/art/10435

Nabi. Landscape in tropical and subtropical region: Tahiti
Paul Gauguin went to Tahiti in 1891 in search of new, exotic motifs, but also to escape European civilization, which he felt was artificial and spiritually bankrupt. This picture, one of the first he painted in the South Seas, exhibits the artist's characteristic post-Impressionist style. In it, Gauguin used sinuous contours and intense colors to express the joy and serenity inspired by the lush tropical site. Tahiti would become Gauguin's home for most of the last twelve years of his life. He once said of his Tahitian paintings that he had been "eager to suggest a luxurious and untamed nature, a tropical sun that sets aglow everything around it...the equivalent of the grandeur, depth, and mystery of Tahiti when it must be expressed in one square meter of canvas."

MIA: Paintings (Bot) @miapaintings.bsky.social · 12/10/2026

Caretaker's Cottage in the Forest of Compiegne collections.artsmia.org/art/60157

white cottage with slanted roof at L; trees behind - tallest with turning leaves; woman on path with a pony; figures at R by haystack
Paul Huet was a principal intermediary between the French and British landscape schools during the revolutionary decade of the 1820s. From 1822, he sketched in oil regularly in suburbs of Paris. In the year that this early masterwork was painted he was sharing a studio with Eugene Delacroix and Richard Parkes Bonington. This painting is Huet's most ambitious early work and a melange of the different styles that vied for his attention at this moment. The impression on Huet of the English landscapes shown at the 1824 Paris Salon, especially those of Bonington and John Constable, was profound, although he continually sought to temper the English manner with inspiration from a medley of old master sources, including Claude, Rubens, and Rembrandt. A number of similar subjects by Huet, in a variety of media, are known, yet this is the only one identifiable with a specific landscape site. During several centuries, the forest of Compiègne, northeast of Paris, was a royal hunting preserve, much like Windsor Great Park near London. The "caretaker's cottage" was the residence of the gamekeeper.

MIA: Paintings (Bot) @miapaintings.bsky.social · 12/10/2026

Portrait of James Ward collections.artsmia.org/art/76

Portrait of a young boy, three quarters view, with a dog
The sitter’s last name and initial, J. Ward, are inscribed on his dog’s collar. Gilbert Stuart, a Rhode Island native, painted this portrait while working in the London studio of his mentor, the American artist Benjamin West. The pose, costume, and canine companion overtly reference portraits of British royalty from the 1600s. Stuart went on to paint likenesses of U.S. leaders, including the image of George Washington seen on every dollar bill.

000

MIA: Paintings (Bot) @miapaintings.bsky.social · 12/10/2026

Vacationers on the Beach at Trouville collections.artsmia.org/art/10449

Trouville environs. Beach (as place of recreation).
This is one of Eugène Boudin's many paintings of the Normandy coast in northern France. Around 1862 Boudin began working at Trouville, a summer resort served by the new train lines from Paris. There, well-to-do city dwellers enjoyed a new type of vacation: the beach holiday. Some people actually swam (wearing the daring new bathing costumes), but many gathered just to enjoy the sea air and socialize. Boudin's beach scenes, a new subject for painting, sold rapidly to Paris collectors. Most were smaller than this - just the size for Parisian parlors. This was the first painting purchased by the Minneapolis Institute of Art after it opened in 1915.

000

MIA: Paintings (Bot) @miapaintings.bsky.social · 12/10/2026

Mount Maude collections.artsmia.org/art/16630

Landscape
George Morrison painted this view near Grand Portage, Minnesota, while visiting his brother Bernard. While Bernard worked for the forestry service watching for fires from a tower, Morrison painted Mount Maude outdoors in one uninterrupted session. Soon after making this work Morrison left Minnesota to study in New York, where he encountered alternative ways of working and shared ideas with new circles of friends. From 1945 onward he made abstractions from nature, some radical in design and in their treatment of paint. The Minneapolis Institute of Art purchased the painting from an exhibition the same year, making it Morrison’s first work to enter a museum collection.

000

MIA: Paintings (Bot) @miapaintings.bsky.social · 11/10/2026

Georgian Bouquet collections.artsmia.org/art/6255

Still life. Bouquet of flowers in a turquoise and gold vase.
Frances Greenman belonged to the first generation of female artists in Minnesota. She was also a highly respected local art critic for the Star Tribune and a professor at what is now MCAD. Although very prolific as a portraitist, her still-life paintings are rarer. Among her more famous portrait sitters were actresses Mary Pickford and Dolores Del Rio.

000

MIA: Paintings (Bot) @miapaintings.bsky.social · 11/10/2026

Monks Praying in a Grotto collections.artsmia.org/art/3205

The paintings of Alessandro Magnasco present mysterious worlds—dark, moody landscapes in flickering light, populated by wild, expressive figures. Monks were a favored subject. Here they are scattered about a woodland grotto praying, in seeming anguish. Magnasco’s interest in fantasy combined with his raw, rapid handling of paint, was very forward-looking in the early 1700s. Magnasco often collaborated with the landscape painter Antonio Francesco Peruzzini, to whom the background of this painting has recently been attributed.

000

MIA: Paintings (Bot) @miapaintings.bsky.social · 11/10/2026

Ritual collections.artsmia.org/art/127137

man in green coat sitting on a chair at L smoking a pipe across from a man in red chair; orange table at C with assorted objects; man in red chair is in somewhat dramatic pose, with PR foot extended and hands in air, and knife overhead; knives or swords against red and red droplet background URQ; framed

MIA: Paintings (Bot) @miapaintings.bsky.social · 11/10/2026

Misty Morning collections.artsmia.org/art/1393

Landscape with figures and animals
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.

MIA: Paintings (Bot) @miapaintings.bsky.social · 11/10/2026

Orpheus and Eurydice collections.artsmia.org/art/1657

In Greek mythology, Orpheus is portrayed as a poet and musician from Thrace whose lyre playing could charm all who heard his seductive music. In this representation, Eurydice, the wood nymph who became Orpheus's wife, kneels transfixed by his song. Like many Symbolist artists, Denis explored the power of music as a theme in his art, hoping to make the visual arts as lyrical and suggestive as sound itself.

000

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

Astronaut Targets collections.artsmia.org/art/129793

abstracted, simplified heads and torsos of two figures; figure at left has blue skin with blue, yellow, and red nose; blue cage-like element over white and dark blue mouth; eye covered with blue lenses in red goggle-like elements; orange helmet with black stripes and red and blue star; garment on figure at left is blue and white striped on left and lighter blue on right with green and red target on chest with looping bands of orange and pale green; figure on right has orange skin with gold nose; round red mouth with blue and green elements around it; red and white striped lenses in black glasses; blue and red helmet; left side of garment is blue and gold striped; right side of garment has red and blue target with looping red and blue bands on field of purple; red border; blue border element around figures with yellow and red radiating lines; blue diamond with yellow circle at center in center of image; black strip frame

000

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

Blind Man's Buff collections.artsmia.org/art/1270

Blind Man's Buff is the most important of the five triptychs created by Max Beckmann while exiled in Holland between 1937-1947 - an exile necessitated by the Nazi's inclusion of ten of his works in their exhibition of "degenerate art" in 1937. Like much of his art, Blind Man's Buff is allusive and symbolic, inviting explication yet resisting explicit interpretation. Yet, the artist's use of the three-paneled format that was traditional to Medieval and Renaissance altarpieces evokes religious associations. Beckmann also drew upon classical sources, calling the figures at center "the gods" and the animal-headed man the "minotaur." Throughout the triptych, figures engage in sensual pleasures in a place where time, represented by a clock without XII or I, has no beginning or end. In sharp contrast on each wing are the blindfolded man and kneeling woman who, like prayerful donors in a Renaissance altarpiece, turn their backs to the confusion behind them.

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

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.

000

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

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 · 10/10/2026

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

Landscape.

000

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

The Village collections.artsmia.org/art/1852

The Village

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

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.

000

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

Landscape collections.artsmia.org/art/3315

Landscape.

000

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

Saint Lucy collections.artsmia.org/art/1697

from a polyptych, arched top (pointed)

000

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.

000

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

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

Was It For The Best?

000

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

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

Rue à Stains

000

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.

000

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

000

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.

000

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

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

Portrait.

000

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.

000

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

Trial collections.artsmia.org/art/1331

Abstract expressionist.

000

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.

000

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.

000

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.

000

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.

000

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.

000

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.