Safely stored away during gallery renovations, all 196 pieces of RISD's Gilded Frost and Jet Chandelier by Dale Chihuly have been expertly reinstalled.

After a half-century's journey, Gorham's magnificent writing table and chair made for the 1904 St. Louis World's Fair returned home to Providence.

This rare example of Gorham's "Mythologique" flatware service was purposefully left unfinished as they are samples, combining elaborate hand-worked detail with mechanized brute force.

Curator Maureen C. O'Brien discusses American drawings and watercolors in the RISD Museum collection

Eastman Johnson was raised in Maine in a family of eight children, and

William Stanley Haseltine first studied painting in Philadelphia with t

Childe Hassam, a successful young book and magazine illustrator, made h

Plowing on Sunday, from about 1934

Reginald Marsh, the son of American artists Fred Dana Marsh and Alice R

Over the course of his artistic life, Marsden Hartley sought unmediated

Unfinished paintings by Eastman Johnson, John Singer Sargent and Mary Cassatt reveal new techniques that emerged in France in the second half of the 19th century.

A glimpse into the lives of international merchants in Canton, China.

Insights into Ingres's studio practice and clues to his intellectual process

What are the essential questions museums need to ask themselves to understand the future of art?

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.

John Steuart Curry's images of the circus provide us with an insider's look at the Ringling Bros. and Barnum & Bailey Circus in the 1930s.

For Yorùbá-speaking peoples in West Africa, cloth is equated with their most precious possession, children.

Egungun costumes are usually created from a wide variety of carefully chosen fabrics ranging from exquisite samples of local handwoven aso ofi to exotic fabrics imported from aro

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.

RISD Museum intern Alicia Valencia (RISD 2015, Furniture) explains how the act of looking closely formed her impressions on Samuel Gragg's Elastic armchair.

Arlene Shechet discusses the production of works for and the installation design of Arlene Shechet: Meissen Recast with the exhibition's curator, Judith Tannenbaum.

A jade lithophone from 18th-century China offers insight to the significant role of ritual music in ancient China—as an essential part of state rite to assert the legitimacy of reign.

The woman in Frank W. Benson's Lady Trying on a Hat has always been a character who caught my eye during visits to the Museum. From her averted gaze to the contrast between her white dress and the black hat, she is poised to play the lead role on the stage that Benson created.