The Museum recently acquired *Huevos de Los Angeles*, a collaborative work by two RISD alumni, Adam Silverman and David Wiseman. Here the artists describe how they created "eggs" to rival the most coveted variety.

A student dismantles the outdated terminology and practice of “master copies” by constructing a series of copies that works to bolster underrepresented artists and subvert the pervasive presence of white males in the Western art canon.

RISD Museum Summer researcher discusses Wifredo Lam's 1959 painting Près des Îles Vierges as a reflection of his complicated relationship with revolutionary Cuba and evolving understanding

Plowing on Sunday, from about 1934

Curatorial intern Grace Xiao reflects on viewing artwork that embraces instability, disruption, and restlessness, making room for open interpretations in the gallery.

RISD Museum’s important Greek inscription dates to the period when Rome dominated the Eastern Mediterranean.

A summer intern peeks into the Museum’s hidden corners and examines its architectural quirks.

A rare female artist, Diana Mantuana's engraving of Atilius Regulus in a Barrel plays an important role in the history of the practice of printmaking and its reception in Renaissance Italy.

Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerlan

Curatorial intern Anthony Stott explores the journey of the myths of Ovid—from text to visual medium—in three objects in the neoclassical galleries.

Cleaning an object can be as much about discovery as it is about removing accumulated dust and grime.

Books of hours made during the late Middle Ages and Renaissance were products of collaboration between scribes, illuminators, bookbinders, and, sometimes, the original patron or owner. A recent acquisition of a French book of hours made in Rouen around 1510 tells the story of this collaboration through the structure of its contents, iconography, and assembly.

In 1969, artist Andy Warhol was invited to curate an exhibition at the RISD Museum using works from the permanent collection that were not on view, but in storage.

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.

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.

This late fifteenth-century Virgin and Child was created with subtlety, flexibility, and portability in mind. These features were central to its medieval use—and its use at the RISD Museum.

This article argues that Simon the Pharisee would have been viewed as an explicitly Jewish character by sixteenth-century viewers.

This seven-foot-tall Christ would have been suspended above an altar or screen, the juxtaposition of his damaged body and calm, downward gaze reminding those below him of both his humanity and his divinity.