Drawing as Interpretation: The thousand languages of a pictograph

Noël Lefebvre Educators Construction with Central Anchor is an image that I return to frequently with students in K-12 classrooms and in the RISD Museum. Rendered in a muted, multicolored palette, the composition is organized in an orthogonal grid, and within each window of the grid, we find a pictograph. As a symbol representing a word or phrase, the pictograph is a pervasive and powerful agent of communication.

When Then Is Now

Martin Boyce's Connections to the RISD Museum Collection Dominic Molon Curator 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.

Photographing David Greene's LogPlug and other drawings

Erik Gould Portfolio

Ingres Study in Three Parts

Maureen C. O’Brien Curator Insights into Ingres's studio practice and clues to his intellectual process

Private Investigation, Art-History Style

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

Framing Art and the Art of the Frame

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

American Drawings and Watercolors

Childe Hassam's Woman and Mastiff in the Boston Public Garden and Diamond Cove, Appledore Maureen C. O’Brien Curator Drawing 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, Switzerland, Italy, and Spain.

American Drawings and Watercolors

William Stanley Haseltine's Amalfi Maureen C. O’Brien Curator Drawing William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.