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

A summer intern reflects on diversity in the museum's Western European galleries and suggesting curatorial strategies for greater visibility

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.

An intern explores the history of works from the museum’s ancient collection, tracing the archaeological excavations that brought them to light and into the permanent collection.

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.

In 1971, a group of radical students in Providence produced stirring silkscreen posters. Their images contributed to the vibrant visual culture of antiwar protest.

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.

The American and European jewelry collection at the RISD Museum, part of the Decorative Arts and Design Department, is made up of more than 800 works, including necklaces, earrings, bracelets, and rings from the medieval period to present day.

Inspired by the European galleries, graphic designer Kelly Walters explores 19th-century notions of exoticism and beauty through the creation of a folded broadsheet poster.

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.