A chance meeting between the wife of President Rutherford B. Hayes and Theodore Davis, an illustrator and journalist for "Harper's Weekly", in the White House conservatory produced one of the most extraordinary dinner services.
Egungun costumes are usually created from a wide variety of carefully chosen fabrics ranging from exquisite samples of local handwoven aso ofi to exotic fabrics imported from aro
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.
This fall the RISD Museum Lucy Truman Aldrich Porcelain Gallery reopened with its cabinets filled with engaging figures and a diverse array of tableware. Comprising nearly 180 objects from the museum's collection, this new installation focuses on the role that porcelain played in eighteenth-century life.
An eclectic mix of North African, Moorish, Middle Eastern, and Japanese aesthetics, this desk and table are the original creations of Italian designer Carlo Bugatti.
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.
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.
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.
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.
How does a landscape painting made in 1828 by English-American artist Thomas Cole both reinforce and intervene in settler-colonial ideas about the environment and Native American people?
