The RISD Museum is committed to working deliberately, consistently, and compassionately to confront injustice in its many forms. We expect to be challenged and changed by where this collective and responsive work takes us.

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.

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

The Museum recently acquired *Huevos de Los Angeles*, a collaborative work by two RISD alumni, Adam Silverman and David Wiseman. Here the artists describe how they created "eggs" to rival the most coveted variety.

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

The handmade object has a tendency to prompt memories from the craftsperson who made it. In this reflection on an embroidered purse from the 1970s, Ariel Wills and Kate Irvin are joined by maker Christina Bevilacqua for a dynamic conversation that demonstrates the narrative qualities embodied in material culture.

Why is an Etruscan situla, or pail, one of the most important objects in RISD's ancient collection? We examine its form, decoration, and context to understand its unique place in European archaeology.

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.

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.