22 November 2024
Art

Minneapolis Institute of Art

Clearly one could spend hours and hours in the Minneapolis Institute of Art in Minnesota, but we were low on time and high on hunger, so we only spent two hours exploring. We managed to see all the items on the list we prepared in advance, mostly by zipping through the areas of lower interest to us (which is a perfectly legitimate way to see a museum, in my opinion).

The museum’s collection includes more than 90,000 works of art, making it one of the largest art museums in the United States.

It has an impressive collection, made all the more impressive by the fact that it is free for everyone.

The Piazza San Marco, Venice, 1881, Pierre Auguste Renoir.
Curator’s Office, 2012-13, Mark Dion. This room is accompanied by a signboard with a detailed history of MIA’s first curator, Barton Kestle, including personal and professional information. In 1954, he boarded a train for D.C. and was never seen again! His office was sealed up during an exhibition, only to recently be rediscovered. So fascinating! Except, you’ll note that this room has an artist’s name attached…because it’s an art installation.

The museum’s founding dates to 1883 when the Minneapolis Society of Fine Arts was established and began to organize art exhibitions in the community.

By 1889 it changed its name to what it is today and moved into its first permanent space (inside the Minneapolis Public Library!).

It moved to its current space (with expansions made over the years) in 1915, thanks to a gift of land from Clinton Morrison and a large gift of cash from William Hood Dunwoody.

The cover photo is of course a Dale Chihuly: Sunburst, 1999.

Blessing of the Tuna Fleet at Groix, 1923, Paul Signac.
Close up on Blessing of the Tuna Fleet at Groix, where you can really get a feel for how the painting is put together using a pointillist technique.
Portrait of Catherine Coustard, Marquise of Castelnau, Wife of Charles-Leonor Aubry with Her Son Leonor, c. 1700, Nicolas de Largilliere. The dress colors in this are so vibrant!
Portrait of Robert Erwin Gray, 1811, Thomas Sully.
The Comtesse d’Egmont Pignatelli in Spanish Costume, 1763, Alexander Roslin. Per the accompanying sign, the comtesse was the “Jackie Kennedy of Parisian high society.”
Vacationers on the Beach at Trouville, 1864, Eugene-Louis Boudin. This was the first painting purchased by MIA after it opened in 1915.
Landscape with Cottage, 1871, Charles-Francois Daubigny.
Orchards at Louveciennes, 1872, Camille Pissarro.
Le Pont de Moret, 1888, Alred Sisley.
Sheridan Square, 1951, Beauford Delaney. Doug’s first job in New York City was in a theater in the basement of the small building at the center of the work.
Writing Desk, c. 1760, Italy. “Exuberantly carved, painted, and gilded,” per the sign. You don’t say!
A portion of Frank Lloyd Wright Hallway, c. 1912-1914, Frank Lloyd Wright. This was rescued from the Francis W. Little house in Deephaven, Minnesota. The Metropolitan Museum of Art in New York purchased the house in 1972, removing portions of the interior to be taken to the Met or sold to other museums. The house was demolished in 1972.  
Table and Two Chairs, 1915, George Grant Elmslie. Made of mahogany. Before it was shipped to the customer in Chicago, Elmslie’s architectural partner William Gray Purcell staged it in his own prairie-style home for a photo shoot for Western Architect. We hope to see the Purcell house in Minneapolis later on our viist.
Springtime of Life, 1871, Jean-Baptiste-Camille Corot. This was once owned by railroad magnate James J. Hill, another place we hope to visit while in Minneapolis.
Woman in an Armchair, 1927, Pablo Picasso.
Nautilus Shell Cup, c 1660-80, German.
Snow, Boulevard de Clichy, Paris, 1886, Paul Signac.
The Seashore at Sainte-Adresse, 1864, Claude Monet.
Luxembourg Gardens at Twilight, 1879, John Singer Sargent. A second version of this painting is at the Philadelphia Museum of Art.
Place du Theatre Francais, Paris: Rain, 1898, Camille Pissarro. Pissarro had a chronic eye infection that kept him indoors for a period, during which time he began a series of views of Paris from hotel windows.

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