In the Middle Ages, several saints were represented as knights in art, making it difficult to identify RISD’s Crusading Saint. This article will explore his possible identities.
An intern explores the history of works from the museum’s ancient collection, tracing the archaeological excavations that brought them to light and into the permanent collection.
A wooden “do not touch” partition usually separates the period room in Pendleton House from the public. But one Monday in June, that partition was removed, and museum staff peopled the room.
RISD Museum object photography generally follows typical museum practice: a straightforward approach to framing and lighting with great concern for color fidelity. For *Artist/Rebel/Dandy*, the curators suggested that we go in a different direction.
The discovery of these treasures resembles that of a valuable manuscript. They are a new “Codex Africanus,” not written on fragile papyrus, but in ivory and imperishable brass.
Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts.
RISD student Tito Crichton-Stuart analyzes Robert Mapplethorpe’s exoticisation of the black body and proposes potential acquisitions that could serve as counterpoints in the collection
Inspired by the European galleries, graphic designer Kelly Walters explores 19th-century notions of exoticism and beauty through the creation of a folded broadsheet poster.
This article explores the concept of purity in criticisms of Inuit prints by briefly introducing the history of printmaking in Cape Dorset and looking at 1970s Western art historians' expectations of Inuit art.
Richard Merkin was for decades the go-to authority for all things dandyish. As we see in the ephemera from his life and his tailored clothing on view in the exhibition "Artist/Rebel/Dandy", his personality and fashion sense live on at RISD.
