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. 

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.

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.

This article argues that Simon the Pharisee would have been viewed as an explicitly Jewish character by sixteenth-century viewers.

This late fifteenth-century Virgin and Child was created with subtlety, flexibility, and portability in mind. These features were central to its medieval use—and its use at the RISD Museum.

In the winter of 1886, the neighborhoods of Paris were transformed by an unusually heavy snowfall that lingered on the branches of trees and captured the imagination of the artist Berthe Morisot.

A student dismantles the outdated terminology and practice of “master copies” by constructing a series of copies that works to bolster underrepresented artists and subvert the pervasive presence of white males in the Western art canon.

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.

How do we describe images and the experience of looking at images? Student Grace Xiao reflects on the process of writing alt text for "Variance: Making, Unmaking, and Remaking Disability."

Curatorial intern Grace Xiao reflects on viewing artwork that embraces instability, disruption, and restlessness, making room for open interpretations in the gallery.

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

Childe Hassam, a successful young book and magazine illustrator, made h

Plowing on Sunday, from about 1934

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.

Curatorial intern Anthony Stott explores the journey of the myths of Ovid—from text to visual medium—in three objects in the neoclassical galleries.

Marking the Museum’s entrance into online publishing, Altered States: Etching in Late 19th-Century Paris combines a scholarly collection of essays with a video glossary of printmaking techniques.

RISD Museum’s important Greek inscription dates to the period when Rome dominated the Eastern Mediterranean.

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

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.

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.