#artsmia

[mia-japanese-korean]

Festival kimono decorated with carp ascending a waterfall made in Akita Prefecture, Unknown Japanese, late 19th-early 20th century, Minneapolis Institute of Art: Japanese and Korean Art

indigo-dyed kimono; leaping fish coming out of swirling waves on the back; small, detailed, scaled spots of blue and white across background on back and continues over onto front side; cresting waves on bottom front side Size: 51 × 50 1/2 in. (129.54 × 128.27 cm) Medium: Cloth: cotton; shibori (tie-dyeing), indigo dye

https://collections.artsmia.org/art/131669/

[mia-decorative]

Eternal light and Hannukah lamp, Michael Ende, c. 1985, Minneapolis Institute of Art: Decorative Arts, Textiles and Sculpture

upper canopy section with 4 hanging chains connected to a ring; building-shaped section hanging from 4 chains connected to a ring; sides of building have amber glass panels at interior; hanging chain with 2 large ornaments and 3 small balls; two balls hanging from hooks; one hanging candleholder(?); 8 small pails Medium: Silver, glass

https://collections.artsmia.org/art/83265/

[mia-africa-americas]

Woman's chopping knife (Ulu), c. 1920-1930, Minneapolis Institute of Art: Art of Africa and the Americas

Ivory knife handle with metal blade; circa 1920s; Nunivak Island Size: 5 x 7 1/2 in. (12.7 x 19.05 cm) Medium: Walrus ivory, metal

https://collections.artsmia.org/art/4351/

[mia-paintings]

City Night, Georgia O'Keeffe, 1926, Minneapolis Institute of Art: Paintings

Landscape. Urban. Architecture. Georgia O‘Keeffe produced more than twenty scenes of New York City between 1925 and 1930. Here, the power and presence of the modern era are epitomized in the city’s thrusting architecture. During the first half of the 1900s, skyscrapers came to exemplify U.S. ingenuity. O’Keeffe reduced these immense buildings to simple geometric forms that converge in the upper reaches of the dark canvas, towering even above the moon. She places the viewer between these architectural giants. We might feel small in their midst, forced to crane our necks skyward to take it all in, or we might marvel at the staggering feats of engineering that soar above our heads. The brightly glowing moon offers a round contrast to the super-straight lines of the city. Size: 48 x 30 in. (121.92 x 76.2 cm) (canvas) 47 3/4 x 29 3/4 in. (121.29 x 75.57 cm) (sight) 53 x 35 1/2 x 3 5/8 in. (134.62 x 90.17 x 9.21 cm) (outer frame) Medium: Oil on canvas

https://collections.artsmia.org/art/2725/

[natalia-goncharova]

The Pale Horse, Natalia Sergeevna Goncharova, 1914, Minneapolis Institute of Art: Prints and Drawings

Plate 12 Russian artists responded to the outbreak of war in Central Europe in 1914 in paintings and works on paper. In her portfolio "Mystical Images of War," Natalia Goncharova depicts all aspects of armed conflict past and present, ranging from the archangel Michael riding triumphantly through flames on horseback to celestial beings observing fighter planes in combat. She realizes her apocalyptic vision of war in this powerful portfolio of masterful lithographs formally inspired by the solemn gravity of traditional Russian icons and the dynamism of contemporary Futurist painting. She successfully draws upon these diverse stylistic influences to express the horror of armed conflict. Size: 12 5/8 x 9 1/2 in. (32.07 x 24.13 cm) (image) 12 3/4 x 9 3/4 in. (32.39 x 24.77 cm) (sheet) Medium: Lithograph

https://collections.artsmia.org/art/68109/

[joan-mitchell]

Sunflower III, Joan Mitchell, 1972, Minneapolis Institute of Art: Prints and Drawings

A leading American painter and printmaker, Joan Mitchell was a contemporary of Helen Frankenthaler and Robert Motherwell and was widely regarded as one of the supreme colorists of the abstract expressionist movement. Her lyrical abstractions are generally based on actual physcial entities, such as landscapes or studies of flowers. Commenting on Mitchell's art, E.C. Goossen wrote: "The Abstract Expressionist generation out of which she came was forever searching for abstract subject matter with transcendent implications, even though it professed to believe that art was its own message... But unlike those contemporary painters who 'discover' their subject in the process of painting, Mitchell works from an idea and builds on it." Mitchell spent the last thirty years of her life in Paris, where she died in 1992. Size: 26 11/16 x 17 1/8 in. (67.79 x 43.5 cm) (plate) 35 7/8 x 24 7/8 in. (91.12 x 63.18 cm) (sheet) Medium: Color aquatint and etching

https://collections.artsmia.org/art/43577/

[elaine-de-kooning]

Untitled, Elaine de Kooning, 1981, Minneapolis Institute of Art: Paintings

abstract painting in white, pink, yellow, purple and green pigment; large, pronounced brushstrokes in pink, purple, white, yellow and green in the upper left quadrant; streaky yellow brushstrokes in upper right quadrant; large white brushstrokes on bottom; grayish-blue squiggly lines overlap colored sections Size: 23 15/16 × 18 1/8 in. (60.8 × 46.04 cm) (panel) 24 5/8 × 18 3/4 × 1 5/8 in. (62.55 × 47.63 × 4.13 cm) (outer frame) Medium: Acrylic on board

https://collections.artsmia.org/art/128238/

[artist-rackham]

Andersen's Fairy Tales, Arthur Rackham, 1932, Minneapolis Institute of Art: Prints and Drawings

binding: red fabric; gold-stamped lettering and designs; endpapers: cream wove with designs printed in yellow-orange ink; 288 pp. Size: 10 1/8 x 7 3/4 in. (25.72 x 19.69 cm) Medium: Reproductions of pen and ink drawings

https://collections.artsmia.org/art/80899/