An intern's hands-on exploration of antique photomechanical processes in the 21st century

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.

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.

A summer intern peeks into the Museum’s hidden corners and examines its architectural quirks.

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.

An exploration of the intriguing relationships between works in Martin Boyce's mid-career survey exhibition at the RISD Museum and objects by Alexander Calder, Charles and Ray Eames, and Dan Flavin in the museum's collection.

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

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

Cleaning an object can be as much about discovery as it is about removing accumulated dust and grime.

Anya Ventura visits the studio of Rhode Island stone carver Tracy Mahaffey.

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.

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.

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 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.

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.

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. 

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

Intern Margaret North finds that every successful treasure hunt has a moment of shining glory.

Understanding historic frames and how to care for them can be a complicated matter.

The man in this painting lived in the same era and region as some of colonists seen in this gallery.

Using a questionnaire, curator Peter Selz—and the artists he queried—helped define a movement.

A summer intern explores the context of ceremonial objects significant to RISD’s past and present.