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.

Artist educator Aja Blanc gives tips and strategies on looking at art with children.

Curatorial assistant A. Will Brown interviews artist Julien Prévieux about his videos What Shall We Do Next? (Sequence #2) and Patterns of Life.

This article explores the concept of purity in criticisms of Inuit prints by briefly introducing the history of printmaking in Cape Dorset and looking at 1970s Western art historians' expectations of Inuit art.

Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature.

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

Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898.

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 look at the graphic-design inspiration and challenges behind Circus.

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

Exploring the process and context behind "School House Long House", a new work created by Providence/Newport artists Jed Hancock-Brainerd, Rebecca Noon, and Jeremy Radtke.

The RISD Museum looks back at 100 years of its docent program, and the program's origins and evolution.

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.

The future is an abstract concept, hard to decode and difficult to predict. A summer intern reflects on fashion and future in this creative writing piece.

Ceramics student Lindsay Savoie subverts traditional hierarchies that value painting and sculpture more highly than utilitarian art forms like pottery and photography.

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 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. 

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.

Writings based on a series of vernacular photos

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.

Artist Anya Ventura explains the context behind an audio tour and printed guide that she and Anther Kiley created illustrating episodes from the lives of seven objects from the Museum's galleries. Their 2012 work "Fragments" was one of the winning projects in the RISD Museum's annual *Sitings* competition for site-specific installations by RISD degree candidates.

Painting student Davis Lloyd recollects stumbling across an unlikely source of inspiration, and connection between ancient art and contemporary painting.