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

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.

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.

Robert Emlen, curator at Brown University, and furniture designer, Timothy Philbrick examine the craftsmanship, features, and significance of the Goddard/Townsend desk and bookcase.

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.

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

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

William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the Univer

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

A summer intern describes her experience delving into the RISD Museum's databases, searching for human elements

In the January 1920 Bulletin of the Rhode Island School of Design, RISD Museum director L.

Additional resources for the Process Work exhibition

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.

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

Plowing on Sunday, from about 1934

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

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.

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

Isabella McCormick (Brown/RISD 2015) explores the intricacies of the Gorham Narragansett Salad Set and their reflections on Rhode Island culture, insights gained from her meticulous cleaning of the utensils as part of her Mellon Summer Internship in conservation.

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

Artist Jane Ogden (British, ca. 1845–1928) painted flowers and other still-life subjects in oil and watercolor.

A student in a RISD course on pan-African aesthetics, inspired by a photograph in the collection, explores Black youth occupying space in movements from La Sape to Noirwave.