May 16, 2025

Minneapolis—The Minneapolis Institute of Art (Mia) today announced the acquisition of several significant works that strengthen the museum’s holdings across its Asian, European, and Global Contemporary Art departments. The new acquisitions include a collection of Tibetan rugs and textiles, a rare Chinese religious painting from the Kangxi period, three Japanese battle surcoats, a landscape by British painter Algernon Cecil Newton, a French gouache by Napoleon’s cartographer, Bill Viola’s 2024 work “Father and Daughter,” and a monumental contemporary collage by María Berrío.

“These acquisitions reflect our ongoing commitment to building a collection that spans cultures, time periods, and artistic practices,” said Katie Luber, Nivin and Duncan MacMillan Director and President of Mia. “Each object offers our visitors a unique window into global artistic traditions and human experiences. For example, the Tibetan textiles, with their natural dyes and geometric motifs, speak to centuries of craft tradition in the Himalayas, while the ‘Three Wisdom Kings’ painting illuminates Buddhist spiritual practices of the Kangxi period. María Berrío’s monumental ‘El Dorado’ embraces contemporary dialogue about ritual and cultural memory, as does the late-career work by video artist Bill Viola. And the landscape paintings by Algernon Cecil Newton and Bacler d’Albe present different approaches to the enduring tradition of European landscape paintings. Together, these works strengthen our ability to tell more inclusive, nuanced stories about human creativity across time and geography.”

Chinese Painting of “Three Wisdom Kings”

A rare early Qing dynasty painting depicting three Ming Wang (Wisdom Kings) from the Kangxi period (17th–18th century) joins Mia’s collection of Chinese art. This exceptional religious painting portrays three wrathful deities seated in the royal ease posture, each enveloped by flames with three heads and six arms displaying ritual implements. The painting was likely part of a series of hanging scrolls created for use in Buddhist Water and Land ritual ceremonies.

This acquisition significantly enhances Mia’s holdings of Chinese religious paintings—both Buddhist and Daoist—which have been relatively modest despite the museum’s strong collection of Chinese classical works. Also of note is the painting’s history, which includes a period in the collection of Sophus Black (1882–1960), a Danish telegraph company employee stationed in China who developed a keen interest in Chinese history and decorative arts.

Japanese Battle Surcoats (Jinbaori)

Three distinctive Japanese battle surcoats (jinbaori) from the late 18th to early 19th centuries enhance Mia’s collection of samurai-related objects. These flamboyantly designed sleeveless garments were worn by high-ranking daimyo over their armor—not only for protection against unfavorable weather, but to indicate rank and identity on the battlefield. These acquisitions complement Mia’s ongoing efforts to build its Japanese textile collection and samurai-related holdings.

Each surcoat features unique design elements: one resembles a fur coat made from a fine hemp net with red and white dyed hair likely imported from Mongolia; another mimics fish scales through individually lacquered leather pieces; and the third is decorated with gold thread in a hexagonal pattern and long tassels.

Tibetan, Nepali, and Bhutanese Rugs and Textiles

Mia acquired a significant group of 23 rugs and textiles from Tibet, Nepal, and Bhutan, dating from the 19th to early 20th centuries, from textile specialist Thomas Murray. The collection includes both purchases and gifts and features works made with natural dyes, including madder (red), indigo (blue), Tibetan rhubarb (yellow), and Tibetan walnut (browns and greys). These textiles represent important aspects of Himalayan material culture, having served various purposes from monastic seating carpets to wall hangings and horse saddles.

The carpets are notable for their traditional design motifs, including simple geometric patterns such as checkerboard and amulet designs that form part of an ancient Tibetan repertoire, as well as medallion designs derived from Chinese decorative traditions. Together with carpets acquired by Mia from London-based collector Anthony d’Offay in 2023, this acquisition brings important depth to the museum’s holdings of Himalayan textiles.

Algernon Cecil Newton’s “A View of Godmersham Park on a Cloudy Day”

A significant British landscape from 1942, “A View of Godmersham Park on a Cloudy Day” by Algernon Cecil Newton (1880-1968), known as “the Regent’s Canaletto.” This painting depicts Godmersham Park, an estate once owned by Edward Austen, brother of novelist Jane Austen, who visited frequently and likely drew inspiration for “Mansfield Park” from the house. Created during World War II by Newton (a combat veteran himself), the work captures a sense of foreboding through its composition, with the house sitting low in the landscape beneath fast-moving clouds and a large tree casting an unusually long shadow across the sunlit lawn.

Newton achieved fame in the 1920s for his uncanny paintings of empty London streets that emphasized alienation and anxiety following the First World War. The first work by Newton to enter Mia’s collection, it is also the first major painting by this artist to enter an American museum collection outside the Metropolitan Museum of Art.

Louis Albert Guislain Bacler d’Albe’s “Bacchanal in a Classical Landscape”

A rare gouache by Louis Albert Guislain Bacler d’Albe (1761-1824), who served as Napoleon’s chief cartographer, joins Mia’s collection of works on paper. Known for both his military service and artistic output, Bacler d’Albe created this picturesque landscape in 1803, inserting classical vignettes featuring Silenus ambling with his retinue on a shady path while distant revelers carouse around a temple.

This impressive work enhances the museum’s strong holdings of works on paper from the Napoleonic period (c.1790–1810)—but bridges a gap in the museum’s representation of European landscape painting between Neoclassicism and Romanticism. While Bacler d’Albe was best known for his engraved topographical maps and battle paintings, his landscapes show a distinctive sensibility, representing figures at a tiny scale to emphasize nature’s immensity and awe-inspiring beauty.

María Berrío’s “El Dorado”

A monumental contemporary collage by Colombian-born, New York-based artist María Berrío (b. 1982) is the first work by this artist to enter Mia’s growing collection of works by Latin American artists, and bridges contemporary, historical, and global narratives. “El Dorado” (2024), measuring over seven feet tall by nearly 10 feet wide, is part of Berrío’s recent series “The End of Ritual,” which explores how rituals have been emptied of meaning over time.

Created using Japanese papers and watercolor paint on canvas, this visually enticing work depicts a woman lying in a trance-like state while various figures either pay close attention to her or remain completely unaware of the scene. The composition weaves together contemporary and historical references, including a figure wearing a Chiquita banana t-shirt that alludes to the United Fruit Company’s controversial involvement in Colombia.

Bill Viola’s “Father and Daughter”

A significant late work by pioneering video artist Bill Viola (1951–2024) joins Mia’s growing collection of time-based media. Created in 2008 as part of his Transfiguration Series, “Father and Daughter” exemplifies Viola’s masterful use of high-definition video technology to explore profound emotional and spiritual transformations. The single-channel work follows Harry Dawson—Viola’s longtime director of photography—and Dawson’s daughter Erica as they emerge from shadow into vibrant, water-drenched color before returning through a monochromatic, porous boundary. This acquisition is especially meaningful as it is a gift to the museum from Harry Dawson himself, honoring his 25 years of collaboration with Viola and his wife, Kira Perov.

The video continues Viola’s lifelong artistic investigation of universal human experiences, employing his characteristic slow-motion technique to reveal otherwise invisible emotional states. The transformation of the father and daughter as they move through the threshold of water—a recurring motif in Viola’s work since his near-drowning experience as a child—invites viewers into a meditative space that transcends ordinary perception. Unlike actors performing assigned roles, the genuine familial relationship between the Dawsons adds authentic emotional depth to the piece. “Father and Daughter” enhances Mia’s representation of influential contemporary artists, offering visitors an immersive encounter with Viola’s distinctive vision at the intersection of technology, spirituality, and human connection.

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About the Minneapolis Institute of Art

Home to more than 100,000 works of art representing 5,000 years of world history, the Minneapolis Institute of Art (Mia) inspires wonder, spurs creativity, and nourishes the imagination. With extraordinary exhibitions and one of the finest art collections in the country—from all corners of the globe, from ancient to contemporary—Mia links the past to the present, enables global conversations, and offers an exceptional setting for inspiration.  Learn more about Mia in our latest Impact Report.

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