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.
A colossal Romanesque head in the RISD collection has yet to be securely identified, but the sheen of his nose suggests that it was rubbed by many penitent hands during the course of this sculpture’s life.
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.
In the winter of 1886, the neighborhoods of Paris were transformed by an unusually heavy snowfall that lingered on the branches of trees and captured the imagination of the artist Berthe Morisot.
Why is contemporary English artist Paul Scott interested in a ceramic technique and imagery from the 1700-1800s? How does he work with transferware to comment on environmental issues and systemic racism in the United States?
Agrippina the Younger watches as men of the emperor move nearer and nearer to her. They carry weapons. Having survived one attempt on her life, she knows that she will not survive another.
These are additional resources we’ve found useful to engage in dialogue and to provide information around environmental and climate issues, impacts and actions.
How does a landscape painting made in 1828 by English-American artist Thomas Cole both reinforce and intervene in settler-colonial ideas about the environment and Native American people?
During the Fall of 2015, Brown’s graduate students in the Department of the History of Art and Architecture undertook an investigation of the wood sculptures in the RISD Museum collections.