Lotus in the Rain, Keibun, 1832
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Sara Cwynar by Thomas Hawk
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Edit after Elliot Daingerfield (Moonlight Landscape) (Minneapolis Institute of Art)
(Ed. Lic.: CC BY-NC 3.0)
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Edit after 綿億 (Flower Painting) (Minneapolis Institute of Art)
(Ed. Lic.: CC BY-NC 3.0)
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Hisachika Takahashi, Untitled, (synthetic paint on canvas), 1967 [Mia – Minneapolis Institute of Art, Minneapolis, MN. © Hisachika Takahashi]
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Indigenous People’s Day 2022
Today we commemorate Indigenous People’s Day with art by Native American Women from Hearts of Our People: Native American Artists. This exhibition catalog was published in Minneapolis in 2019 by the Minneapolis Institute of Art (MIA) in conjunction with the University of Washington Press to accompany the traveling exhibit “Hearts of Our People: Native Women Artists.” The exhibition catalog was prepared by MIA curator Jill Ahlberg Yohe and Kiowa artist Teri Greeves.
While the exhibit and its catalog featured art from antiquity through the present, I decided to primarily focus on the work of living artists, with the exception of the marble by Edmonia Lewis. Lewis, born in the mid-19th century to an African-Hatian father and a Black and Mississauga mother, is credited with being the first African American and first Native American to attain international success in the art scene. Trained in and working out of Rome, Lewis incorporated themes of Blackness and Indigeneity into her Neoclassical sculptural work. Whether through the subversion of traditionally European artforms or the reimagining of Indigenous traditions, the contemporary artists featured here alongside Lewis bring the depth of Native visual languages to a wide range of mediums.
Explore the exhibit further through the exhibition page from the Smithsonian American Art Institute, which hosted the exhibit from February 21-March 13, 2020.
View past Indigenous People’s Day posts here.
Find more posts on Native Americans here.
-Olivia, Special Collections Graduate Intern
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For #WorldTunaDay:
Utagawa Hiroshige (Japanese, 1797-1858)
Bonito and Saxifrage, c. 1832-3
From Untitled series of fish known as Large Fish
Woodblock print (nishiki-e); ink & color on paper, 10 × 14 3/8 in. (25.4 × 36.5 cm) (horizontal ōban)
Minneapolis Institute of Art P.75.51.584
🆔 Skipjack Tuna (Katsuwonus pelamis)
“The combination of a bonito with twigs of cherry suggests early summer, when cherry trees begin to fruit and the season’s first bonitos are caught. Both of the poems on this print refer to hatsu-gatsuo (first bonito), the first catch of the season. Traditionally, the Japanese place a high value on hatsu-mono (first foods), the earliest fruits, vegetables, or fish of a particular season. The ‘first bonito’ was the most prized of all and commanded a high price. People anticipated this seasonal delicacy with much excitement, as described in the poems.
Look at the color of the first bonitos! They are as blue as
morning glories.
No wonder they come along to market before the sun rises.
~Toshinokado Haruki
The first bonito caught on the beach
near the place called Under Snow melts like snow in my mouth.
How tasty it is!
~Toshiiori Machikado
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Eva Gonzalès (1849-1883)
"Pommes d'Api" ("Sweet Apples") (1877-1878)
Pastel on paper mounted on canvas
Impressionism
Located in the Minneapolis Institute of Art, Minneapolis, Minnesota, United States
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Félix Vallotton, Switzerland, 1865–1925. Fireworks (detail), 1901, Woodcut. The Mr. and Mrs. Bernard M. Granum Fund, 2003.6f
via Minneapolis Institute of Art
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The Bohemian Peasant Girl, Robert Koehler (1850-1917)
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flickr
Floyd E. Brewer, Evening Concert, 20th century, Oil on canvas, 7/5/23 #artsmia #artmuseum by Sharon Mollerus
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Edit after Ernest-André Andreas (Maisons au clair de lune) (Minneapolis Institute of Art)
(Ed. Lic.: CC BY-NC 3.0)
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Wolfgang Weingart, February 6, 1941 / 2023
(image: Wolfgang Weingart, The 20th Century Poster. Design of the Avant-Garde, Walker Art Center, Minneapolis, 1984. Museum für Gestaltung Zürich. LACMA – Los Angeles County Museum of Art, Los Angeles, CA. Mia – Minneapolis Institute of Art, Minneapolis, MN)
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