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MIA: Prints and Drawings (Bot)

@miaprintsdrawings.bsky.social

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Sharing artworks from the Minneapolis Institute of Art's Prints and Drawings department. Not associated with the Minneapolis Art Institute. Automated thanks to @andreitr.bsky.social and @botfrens.bsky.social

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 7h

Street from Strozzi Palace to Old Market, Florence collections.artsmia.org/art/51418

Street from Strozzi Palace to Old Market, Florence

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 8h

The Passion collections.artsmia.org/art/80934

17 color aquatints (See: B.84.2.1-17) and 82 wood engravings; binding: wove paper on firm support as cover, pages unbound; endpapers: wove

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 12h

Portrait of Stuart Mead collections.artsmia.org/art/32611

Portrait of Stuart Mead

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 14h

Untitled collections.artsmia.org/art/58507

Landscape

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 16h

Le bonne graveur collections.artsmia.org/art/8868

"Le bonne graveur," part of Pierre Bonnard's collection, depicts a contemplative figure deeply absorbed in the meticulous art of engraving. The artwork captures the intimate atmosphere typical of Bonnard, emphasizing the dedication and focus of the craftsperson.

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 14/10/2026

View of Amsterdam collections.artsmia.org/art/120423

nine separate sheets forming continuous map with view of Amsterdam; overhead view of city streets and buildings with canals and ships; ocean vessels in foreground; plan view in URC; scene from water of city in ULC; key at middle left; small standing Poseidon with trident holding a ship, standing of an architectural element in LRC
Balthasar Florisz van Berckenrode’s map of Amsterdam first appeared in 1625. As the first map to fully recognize the expansion of the city beyond its old fortifications, it superseded all earlier views. It is incredibly detailed and marks the last attempt of any cartographer to publish a single map showing every house in Amsterdam.

MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 14/10/2026

Cover for Proposal for Lighting Fixtures collections.artsmia.org/art/24061

Tan cover page for eight page proposal for lighting fixtures for the residence of H.F. Legg, Minneapolis, by John S. Bradstreet & Co., Minneapolis.

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 14/10/2026

The People Work- Morning collections.artsmia.org/art/43237

One of four lithographs from the series "The People Work," Benton Spruance's imaginative interpretation of the morning rush hour highlights the intermingling of strangers from all walks of life in the urban ritual of riding public transit to work. The unusual cross-section view of the New York subway clogged with passengers suggests the nervous activities of a beehive or ant colony. Widely considered Spruance's most successful prints, the other three lithographs from the series are "Noon," "Evening," and "Night," completing the cycle of a full working day and night.

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 14/10/2026

Out of My Brooklyn Window collections.artsmia.org/art/52160

Out of My Brooklyn Window

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 14/10/2026

Flesh/Armor collections.artsmia.org/art/58525

Headless nude

MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 13/10/2026

Draped Figure collections.artsmia.org/art/9462

Figure holding a bowl, recto Two women, verso, one holds a distaff?

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 13/10/2026

Studi di Pittura già dissegnati da Giambatista Piazzetta ed ora con l'intaglio di Marco Pitteri collections.artsmia.org/art/120598

oblong, mottled, dark-brown calf leather binding containing 48 engraved plates on speckled paper
This drawing manual features 24 designs by the celebrated Venetian draftsman and painter Giovanni Battista Piazzetta. He produced the drawings shortly before his death for the planned publication of this drawing manual. Such books were common teaching tools for artists and amateurs learning to draw in the 18th century. Piazzetta’s drawings are reproduced in the book in pairs, with 24 simple outline prints by Francesco Bartolozzi interleaved with 24 tonal engravings of the same designs by Marco Pitteri. Bartolozzi’s linear prints provide simpler forms for the beginning draftsman to copy. Pitteri’s prints, on the other hand, achieve a more dramatic effect, with vibrant softened lines and an impressive range of tones that convincingly model the forms in the compositions.

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 13/10/2026

Not [in this case] either collections.artsmia.org/art/57924

Plate 36

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 13/10/2026

Spring in the City collections.artsmia.org/art/53301

"Spring in the City" captures a lively urban scene with elegantly dressed individuals strolling past a "Laces & Fancy Goods" store. Created by Winslow Homer for Harper's Weekly, the engraving illustrates the bustling energy and fashion of city life in the late 19th century.

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 13/10/2026

Untitled (plate 6), from "Fourteen Etchings" collections.artsmia.org/art/115691

top image: cream ground with splatter spots of different sizes in black; bottom image: x-ray image of shoulder
"Fourteen Etchings" was originally conceived to illustrate Edgar Allan Poe’s prose poem "Eureka" (1848), a lengthy and mostly intuitive exposition on the origin, essence, and destiny of the material and spiritual universe. Winters later altered his approach to focus on the dichotomous interplay between invented and natural forms, juxtaposing hand-drawn images of forms that imitate natural systems with luminous photogravures of X-ray images of human skulls, legs, arms, and hands. Though Winters abandoned a more literal interpretation of Poe’s poem, he nonetheless addressed some of the themes found there, such as the origin and meaning of the universe and man’s destiny after death. In their totality, Winters’s images evoke the mysteries of the natural world, tempered by the haunting reality of human mortality.

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 12/10/2026

January, from The Twelve Months collections.artsmia.org/art/75417

No. 526

MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 12/10/2026

Ceres, Fille de Saturne cherchant . . . collections.artsmia.org/art/53053

Plate 50

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 12/10/2026

Massacre of the Innocents (2nd plate) collections.artsmia.org/art/60248

Massacre of the Innocents (2nd plate)

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 12/10/2026

The Inagural Procession at Washington Passing the Gate of the Capitol Grounds collections.artsmia.org/art/58028

"The Inaugural Procession at Washington Passing the Gate of the Capitol Grounds," featured in Harper's Weekly, portrays the historic inauguration event with crowds gathered to witness the procession amidst the backdrop of the Capitol building. Created by Winslow Homer in 1861, this piece captures the pivotal moment in American history with detailed engravings and a focus on public fervor and unity.

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 12/10/2026

The Annunciation, plate from Giulio Aleni's "Tianzhu jiangsheng zhuxiang jingjie" (An Illustrated History of the Lord of Heaven Who Became Incarnate in the Flesh), Jinjiang Church, Fujian Province, China collections.artsmia.org/art/109037

L border is scene of crucifixion of Christ; ULC is God the Father preaching to seven winged angels; middle L side is tower where top is a figure pointing towards LRC, where pregnant woman is standing reading the prophesy of Islam from a podium; on chair on opposite side of podium has basket of wool; angel holding a lily walks toward woman; two rays on her; appears as if standing inside architectural structure; R border is building; URC is cloud with man kneeling and one blessing by raising his R hand; eight Chinese characters by scene and figures
These illustrations, one time accompanied by Chinese text, are based on Jerome Nadal's Images from the Gospels (Antwerp, 1593), a sumptuously illustrated Latin treatise produced at the instigation of Saint Ignatius Loyola. The images are emblems, with key elements notated and explained in turn. For example, A represents God's declaration of Christ's incarnation, and B shows the angel Gabriel delivering the news to Mary. At the far right, D marks Mary's house in Loreto, which became a pilgrimage site promoted by the Jesuits. (According to legend, angels carried Mary's house from Nazareth to the Italian town of Loreto in 1291.) Creation is depicted in the small vignette in the sky marked F, and the Crucifixion, as explained in note G, reminds the viewer of Christ's redemptive sacrifice. For the most part, the Chinese woodblock cutters faithfully reproduced the original engravings, adopting many of the European pictorial conventions. Mary's prie-dieu, for example, appears convincingly three-dimensional, though the room behind her lacks depth. Reminiscent of Chinese art, the swirling clouds are described with bold calligraphic lines, to wonderful effect.

MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 11/10/2026

The Hunt collections.artsmia.org/art/124150

Painting on paper. two running men in LRC, wearing blue coats, dark caps, and brown and blue patterned pants, holding branches, accompanied by two brown dogs, chasing a deer; squirrel running up a tree at right edge; blue, brown, black and white; additional man and dog in middle ground in URQ
Oskar Kokoschka was a leader among Vienna’s avant-garde artists in the early 20th century. Though he would go to make his name as an expressionist, while a student at the "Kunstgewerbeschule" (School of Arts and Crafts, 1904-09), he was deeply engaged in the "Jugendstil" (Art nouveau) aesthetic of the "Wiener Werkstätte" (Viennese Workshops). The limited palette of colors, intense patterning, and fairytale sensibility of this hunting scene are all characteristic of that style. A half-century later, Kokoschka recalled that he had made this drawing and others in the hope that they would be reproduced as calendar illustrations. Though that project never came to fruition, he soon achieved success with similar drawings for postcards and book.

MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 11/10/2026

Raft of the Medusa collections.artsmia.org/art/55563

Raft of the Medusa

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 11/10/2026

The Standard Bearer of Unterwalden collections.artsmia.org/art/9346

A new type of foot soldier emerged in the sixteenth century-the proud, self-conscious mercenary who cast his lot wherever there was money to be made. Urs Graf glorified this flamboyant type in this unusual white-line woodcut, in which the design is carved into the woodblock and much of the surface is inked. Graf's dramatic technique adds to the figure's brio as he poses in his fashionably slashed costume, with its ostrich plumes and ribbons. Graf was himself a mercenary, with a particularly roguish reputation. He was jailed repeatedly, played vicious pranks, and consorted with harlots. As if to underscore the point, he included a dagger in his monogram, seen near the date on this print.

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 11/10/2026

Seated Girl collections.artsmia.org/art/43511

Seated Girl

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 11/10/2026

Title Page: Harmonia Macrocosmica/ sev/ Atlas/ Universalis et Novus/..., from Harmonia Macrocosmica collections.artsmia.org/art/75004

Title Page: Harmonia Macrocosmica/ sev/ Atlas/ Universalis et Novus/..., from Harmonia Macrocosmica

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 10/10/2026

St. Clement Danes collections.artsmia.org/art/51976

St. Clement Danes

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 10/10/2026

Prairie House collections.artsmia.org/art/59013

Prairie House

MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 10/10/2026

Horseley's Cottages collections.artsmia.org/art/65218

Horseley's Cottages

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 10/10/2026

Chickadees collections.artsmia.org/art/43527

Chickadees

MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 10/10/2026

Annie, Seated collections.artsmia.org/art/52921

Annie, Seated

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 09/10/2026

O Yuki collections.artsmia.org/art/52238

O Yuki

MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 09/10/2026

Promenaders (Spaziergänger) collections.artsmia.org/art/7871

Promenaders (Spaziergänger)

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 09/10/2026

Seated Woman collections.artsmia.org/art/19501

Seated Woman

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 09/10/2026

Women collections.artsmia.org/art/76848

three nude females; one woman at center in a tub is being pulled up by her hands by standing woman at L; woman at R bending over

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 09/10/2026

Tails collections.artsmia.org/art/46826

Plate 5

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 08/10/2026

Inflorescence of Banana collections.artsmia.org/art/66911

Plate 12
This bold and colorful banana plant is one of Merian's most famous illustrations. Bananas were introduced to the Caribbean in the early sixteenth century and from there spread to other parts of South America. As few Europeans would have tasted these seedless fruits, she described them in detail in Metamorphosis Insectorum Surinamensium: "It is used like an apple, and has a pleasant flavor like apples…it is good cooked and raw. When unripe they are green, while the ripe fruit is lemon yellow inside and out; they have a thick skin like a lemon."

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 08/10/2026

The Vision of St. Bernard collections.artsmia.org/art/54224

The Vision of St. Bernard

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 08/10/2026

The Toilet collections.artsmia.org/art/53010

From the cancelled plate.

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 08/10/2026

Portrait of Joseph Pennell collections.artsmia.org/art/58825

Portrait of Joseph Pennell

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 07/10/2026

La Seine du Bas-Meudon collections.artsmia.org/art/115176

boats near shore with steep embankment up to buildings at upper right; steps up embankment at center

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 07/10/2026

Combe Bottom collections.artsmia.org/art/42177

Combe Bottom

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 07/10/2026

In Church, Ostend collections.artsmia.org/art/9321

In Church, Ostend

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 07/10/2026

A Word Made Flesh: Arms collections.artsmia.org/art/43684

tea-stained Mulberry (kozo) paper
Lesley Dill has long been fascinated by Emily Dickinson's poetry. Its precise balance of lacerating self-exposure and impenetrable reticence is a perfect analogue for Dill's own metaphoric explorations of the female mind, body, and spirit. This suite of prints takes its title and fragmentary texts from Dickinson's poem "A Word made Flesh is seldom / And tremblingly partook." In it, Dill combines two seemingly unrelated sources of inspiration: Dickinson's poetry and the henna tattoos of women in India. She explains: "I was very influenced by my stay in India where women paint their hands and feet in beautiful designs. I thought maybe we do have words on us, invisible text we all wear. I think of words, especially poetry and especially Emily Dickinson's as a kind of spiritual armor, a protecting skin of words that dresses the soul with inspiration of vulnerability, fear, and hope. As clothing cloaks or reveals, so does language, which can selectively present or obscure."

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 07/10/2026

Polka Mazurkas collections.artsmia.org/art/53312

"Wanda Polka Mazurka," part of Winslow Homer's collection, showcases an elegant 19th-century ballroom scene depicting couples gracefully dancing in elaborate, period-specific attire. Celebrating the lively spirit of the polka and mazurka, the artwork is attributed to Adrien Talexy, capturing the cultural essence of these European dances through detailed lithography.

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 06/10/2026

Plate 12, Vol. II. Upupa Epops, Linn. collections.artsmia.org/art/9911

Bird illustration

MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 06/10/2026

The Log Boom collections.artsmia.org/art/55016

The Log Boom

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 06/10/2026

Haircut, from "Lilacs and Smoke" collections.artsmia.org/art/68204

from a suite of 13 color lithographs housed in a beige linen portfolio box, titled by hand individually by the artist, with an acrylic sumi ink wash; man seated in chair facing front; scissors in PR hand cutting hair

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 06/10/2026

The Horse Guards collections.artsmia.org/art/46724

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 06/10/2026

Waterloo Bridge collections.artsmia.org/art/52039

Waterloo Bridge

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MIA: Prints and Drawings (Bot) @miaprintsdrawings.bsky.social · 05/10/2026

Sand Dunes collections.artsmia.org/art/112899

sand dunes, one tree and ocean; grey sky