How was the object made? What materials and methods brought it to life? 

Faculty member Rosa Weinberg reflects on the relevancy of art analysis as a starting point for exploring form in design and as a powerful habit of mind for beginning designers.

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.

Exploring the process and context behind "The Election Gloves", a work created by Cranston artist Jessica Deane Rosner.

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

Inventories have been occurring almost since the beginning of museum practice, but they have changed entirely from their original form.

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

RISD Museum conservator Ingrid Neuman discusses the challenges in caring for objects made from this ubiquitous material

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.

Editor of publications Amy Pickworth, intern Joanna Cortez, and curatorial assistant of contemporary art A. Will Brown interview UuDam Tran Nguyen about his single channel video Waltz of The Machine Equestrians--The Machine Equestrians (2012).

Plowing on Sunday, from about 1934

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