Currently Browsing: Minneapolis Institute of Art 8 articles

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The Seven Masters Exhibit at the Mia

Above: Detail of Hashiguchi Goyō’s woodblock print, Rain at Yabakei, from 1918 as seen on the Mia's website. Click on the image or the website line to view an enlargement. So what is it that you see when you look at the above detail from Hashiguchi Goyō’s woodblock print, Rain at Yabakei, from 1918? It’s a […]

MetroSketchers Sunday, May 1, 2011 at the MIA

See the post for complete details.

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The Art of the Native Americans—The Thaw Collection

Details in the post on this—go see it.

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“Foot in the Door Show” at the Minneapolis Institute of Art

Don’t miss the opening of the MIA’s Foot in the Door Show!

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Calling all Minnesota Artists: Minneapolis Institute of Arts Foot in the Door Show

Above: journal sketch using Stabilo Tones on page spread of Gutenberg Paper (13 x 8 inches approx.). This isn't related to today's post, it's just a continuation of my on-going discussion of Stabilo Tones. This started as a quick gesture sketch of a bird too small to see clearly, made with the Pentel Pocket Brush […]

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Sin and Salvation: William Holman Hunt at the Minneapolis Institute of Arts

422px-William_Holman_Hunt_-_Selfportrait Left: William Holman Hunt, self portrait, oil on canvas, 103.5 cm x 73 cm, Galleria degli Uffizi, Florence (found on Wikipedia Commons). Click on the image to view an enlargement.

If you haven't already seen Sin and Salvation: William Holman Hunt and the Pre-Raphaelite Vision at the Minneapolis Institute of Arts, you have until September 6 to see this ticketed exhibit (free to members).

My attachment to the Pre-Raphaelites is a complex one, beginning in childhood (John Ruskin was a supporter of the Pre-Raphaelites; Charles Dickens—does he really need a link?—went on record to call one of his depictions of the Virgin Mary ugly).

I won't try to unravel my attachment here for you, and don't expect the show signage to present a coherent view either! What you want to do is visit the show, look at the images, and purchase the catalog: Holman Hunt and the Pre-Raphaelite Vision, edited by Katharine Lochnan and Carol Jacobi. It's 221 pages of essays and color illustrations of his paintings, drawings, engravings, and some textiles and photographs of the artist and related items. The sad thing is the reproductions are very DARK and also a tad fuzzy so they don't, even when bled full-page give you the exact sense of obsessive observation and attention to detail that seeing the paintings in life will do—but they are better than nothing, and the essays are far superior to the garbled and incoherent signage presented in the gallery.

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…in which Roz Nearly Gets Tossed out of the Art Institute

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Above: The Otis name plate from the elevator installed in 1930 in the Minneapolis Institute Art. It has all the old plates and grillwork; you have to open the door yourself and it is a two door system; it’s for the public! Click on the image to view an enlargement.

Today my friend Linda encouraged me to go and check out Art in Bloom at the Minneapolis Institute of Art.

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Visual Vocabulary and the Best $6.95 You’ll Ever Spend

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Left: one in a series of pages from my journal showing notes and diagrams I made on a recent trip to the Minneapolis Art Institute. Click on the image to see an enlargement.

My friend Tom is working with his photographic portraits in Painter (a “natural media” painting software program that mimics oil painting, watercolor, charcoal, etc. depending on the tool selections you make). I visited his studio the other day and looked over his samples. We chatted about filters which rendered things automatically and about making adjustments manually and how best to make those adjustments. It was clear to me right away that we needed to see some oil paintings (the technique he was working on, and a painting medium in which I don’t work).

So we looked at our calendars and agreed to meet in a few days at the Minneapolis Art Institute. That day I went right to the information desk with a plan: Do you have any Sargents? Yes, they had two. The Birthday Party—my heart sank, that was a lovely painting in which everyone’s eyes were downcast or blurred by the glowing candles. I didn’t recognize the other painting’s name, in fact, when we got to the gallery where it hung the painting turned out to be a cityscape that was of no use to us.

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