The RISD Museum’s 2009 acquisition of the Richard Brown Baker collection included two drawings by the English artist Howard Selina—Cowboy Hat (1974) and Two Boots (1974)—carefully and precisely rendered drawings in graphite on paper of well-worn, utilitarian garments.
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 1971, a group of radical students in Providence produced stirring silkscreen posters. Their images contributed to the vibrant visual culture of antiwar protest.
Embroidery samplers are inextricably linked to an image of colonial America: farmhouses waved sheets of linen like flags of surrender, with fields of flax extending beyond, as far as the eye could
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.
For many of us, a line is the first mark we make. It is a huge developmental milestone when a young child's first scribbles are set to the page (or wall!).
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.
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 around the gl
Over the last 2,000 years, Nesmin has been a priest, a mummy, and a museum exhibit. RISD Museum intern Jonathan Migliori discusses Nesmin's influence in his life.
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.
Arlene Shechet discusses the production of works for and the installation design of Arlene Shechet: Meissen Recast with the exhibition's curator, Judith Tannenbaum.