Devotional representations of Saint Barbara, a Christian martyr whose legend extended across both Western and Eastern medieval worlds, flourished in fourteenth-century Europe. An examination of the Providence Saint Barbara reveals a sculptural tradition with a complex and colorful practices of medieval devotion to the cult of saints.
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
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.
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.
RISD Museum intern Alicia Valencia (RISD 2015, Furniture) explains how the act of looking closely formed her impressions on Samuel Gragg's Elastic armchair.
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.
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
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.
