Francis Bacon, Triptych - August 1972, 1972, oil on canvas, 72 x 61 x 22 in. (183 x 155 x 64 cm), (Tate Modern, London) . Created by Beth Harris and Steven Zucker.

Baltasar de Echave Ibía, The Hermits, Saint Paul and Saint Anthony, c. 1620, oil on copper, 51.5 x 37.5 cm (Museo Nacional de Arte [MUNAL], Mexico City) Speakers: Dr. Lauren Kilroy-Ewbank and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Dame Barbara Hepworth, Pelagos, 1946, elm and string on oak base, 43 x 46 x 38.5 cm (Tate Britain). Pelagos is the word for "sea" in Greek. speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

English sculptor Barbara Hepworth (1903-1975) was one of the most outstanding female artists of the 20th century. Her smooth, massive sculptures invite their audiences to engage with and even touch them, and they stand as icons of the modern movement. But although a figure of international standing, Hepworth never achieved the same degree of recognition in her lifetime as male contemporaries Henry Moore or Ben Nicholson (her husband of nearly 20 years). Travel to the coastal English town of St Ives, where Hepworth lived and worked until her death in 1975, where many of her sculptures were created and where they continue to stand in the environment they were intended for. If you could see one, how would you interact with a Hepworth sculpture? Created by Tate.

Barberini Faun, c. 220 B.C.E., Hellenistic Period (Glyptothek, Munich). Speakers: Dr. Beth Harris & Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Set aside the everyday and enter the profound, even spiritual space of Barnett Newman's paintings. Created by The Museum of Modern Art.

This art history video looks at "The Painting Techniques of Barnett Newman: Vir Heroicus Sublimis" Abstract Expressionist New York, The Museum of Modern Art, October 3, 2--April 11, 2011. Filmed by Plowshares Media; Music by Chris Parrello, Ian Young, Kevin Thomas, Ziv Ravitz.

This art history video discussion looks at Johannes Vermeer's "Young Woman with a Water Pitcher", oil on canvas, c. 1662 (Metropolitan Museum of Art).

The Baroque, Rococo, and Neoclassical styles dominated the art of Western Europe between 1600 and 1800. Baroque artists like Caravaggio and Peter Paul Rubens sought to reinvigorate Catholic art with art and architecture that emphasized drama and movement. Rococo artists like Fragonard celebrated the leisure activities of the upper class, as the center of style and culture moved to Paris from Rome. Neoclassical art and architecture looked back to the classical era for inspiration, producing Greek-style columned buildings such as the US Capitol Building. A video from the Utah System of Higher Education (with special thanks to Dr. Nancy Ross). Created by Nancy Ross.

A series of Poweroint presentations dealing with guidelines on how to acquire research and organisational skills for first-year undergraduate level essays and presentations in the History of Art 

Basilica of Maxentius and Constantine (Basilica Nova), Roman Forum, c. 306-312. Speakers: Dr. Darius Arya and Dr. Beth Harris. Created by Beth Harris and Steven Zucker.

Basilica of Santa Sabina, 422-432, Rome Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Animation by David Newton, Sound Design by Marc Sylvan. Copyright Potion Pictures Limited. The title "Bayeux Tapestry" (1066-82) is a bit of a misnomer—the textile is embroidered wool on linen, and not actually a woven tapestry. The wool was dyed using the plants Woad, Madder, and Rocket. The linen canvas measures 20 inches in height by 230 feet in length (50 cm x 70 m), and supports the narrative embroidery that tells of the Norman invasion of England—though very much from the Norman perspective. The tapestry depicts Duke William of Normandy's conquest of Harold Godwinson—England's new and ill-fated King. The conquest is portrayed as fully justified, and Harold is represented as an opportunist who broke his oaths to Edward the Confessor, former King of England, and to William himself. Although first known as William the "Bastard" (he was the illegitimate son of Robert the Magnificent and Herleva of Falaise), a name change accompanied his military success: he became known as William the “Conqueror." The Norman conquest is a key turning point in Western history, and the English language still reflects this dominance of French over Saxon culture.

The Bayeux Tapestry. The BBC's David Dimbleby describes the historical significance of the Bayeux Tapestry for his forthcoming BBC One Series, Seven Ages of Britain.

Francis Guy, Winter Scene in Brooklyn, 1820, oil on canvas, 147.3 x 260.2 cm (Crystal Bridges Museum of American Art). Speakers: Dr. Margaret C. Conrads, Director of Curatorial Affairs, Crystal Bridges Museum of American Art, and Dr. Beth Harris, Smarthistory. Created by Beth Harris and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

The awesome beauty of the hole dug for Pennsylvania Station. George Bellows, Pennsylvania Station Excavation, c. 1907–08, oil on canvas, 79.2 x 97.1 cm (Brooklyn Museum), a Seeing America video Speakers: Dr. Margarita Karasoulas, Assistant Curator, American Art, Brooklyn Museum and Dr. Steven Zucker. Created by Smarthistory. Find learning related resources here: https://smarthistory.org/seeing-america-2/

From the ancient discovery of the camera obscura to the 18th century mechanical devices used to create silhouettes such as the physionotrace, this initial chapter explores the inventions and inventors that preceded photography. It recreates the experiments of Johann Schulze who proved the light sensitivity of certain silver salts and Thomas Wedgwood’s early attempts to make photographic images. These early pioneers contributed to the discovery of photography in 1839. This project is made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-10-13-0194.

Before the Civil War, the Mexican-American War as prelude. Richard Caton Woodville, War News from Mexico, 1848, oil on canvas, 68.6 × 63.5 cm (Crystal Bridges Museum of American Art, Bentonville, Arkansas). Speakers: Dr. Mindy Besaw, curator, Crystal Bridges Museum of American Art, and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

When Banksy shredded his artwork the moment after it sold at auction, he left many questions unanswered. What are we to make of the stunt?

Dorothea Lange's photograph changed how we saw the Great Depression. Dorothea Lange, Migrant Mother, Nipomo California, 1936, printed later, gelatin silver print, 35.24 x 27.78 cm (Los Angeles County Museum of Art, PG.1997.2), a Seeing America video. Speakers: Eve Schillo, Assistant Curator, Los Angeles County Museum of Art and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Most visitors to the National Gallery come to look at the paintings. But in this behind-the-scenes look at the work of the Gallery’s Framing Department, the richness and importance of the collection’s frames is revealed. A fascinating insight into recent conservation work and historic frame purchases with the National Gallery’s Head of Framing, Peter Schade, and Vivmar Curatorial Assistant, Harriet O’Neill.

Explore Buddhism through clips of significant sites in South Asia and interviews with members of the Bay Area South Asian community.

Explore Hinduism through clips of significant sites in South Asia and interviews with members of the Bay Area South Asian community.

Giovanni Bellini and Titian, The Feast of the Gods, 1514 and 1529, oil on canvas (National Gallery of Art) Speakers: Dr. Beth Harris, Dr. Steven Zucker. Part of a mythological cycle painted by Titian and Giovanni Bellini and commissioned by Alfonso d'Este, Duke of Ferrara that includes Bacchus and Ariadne and the Andrians. Originally hung in the studiolo or Camerini d'Alabastro of the Duke's Ferranese castle.

Ben Shahn, Contemporary American Sculpture, 1940, tempera on board, 21 1/2 x 30 inches (The John and Susan Horseman Collection, Courtesy of the Horseman Foundation) A conversation with Dr. Jeffrey Richmond-Moll (Curator of American Art, Georgia Museum of Art) and Dr. Beth Harris. Created by Smarthistory.

Despite having photographed everything from the Vietnam War to the construction of the Berlin Wall, Don McCullin doesn’t like to be referred to as a war photographer. McCullin has been covering events of global importance since the 1960s by placing himself in the heart of the action armed with nothing but a camera. In this video, he speaks about a series of his photographs in which there are no explicit images of war or violence, but traces of more subtle and insidious instances of conflict, such as the ravaging effect of industrialisation on the English countryside or poverty in major cities. His photographs also illuminate an idea that is central not only to photography, but to art in general: the relationship between text and image. If you had seen any of McCullin's photographs without titles, would you know where they took place, who they depicted, or what message they were intended to convey? For McCullin, the camera can reveal the untold truths of a society. It also serves as a tool for healing, allowing the photographer to not only capture an image through its lens but to engage with its subjects in a unique way. Would you agree? Do you think a camera can change the way you see things? Created by Tate.

Bonaventura Berlinghieri, St. Francis Altarpiece, 1235 (Church of San Francesco, Pescia, Italy). Speakers: Dr. Beth Harris, Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

This art history video discussion looks at Bernini's "Apollo and Daphne", 1622-25 (Galleria Borghese, Rome).

This art history video discussion examines Gian Lorenzo Bernini's "Bust of Medusa," marble, c. 1644-48 (Capitoline Museum).

This art history video discussion looks at Gian Lorenzo Bernini, David, 1623-24, marble (Galleria Borghese, Rome).

This art history video discussion looks at Gian Lorenzo Bernini's "Ecstasy of Saint Theresa", 1647-52 (Cornaro Chapel, Santa Maria della Vittoria, Rome).

This art history video discussion looks at Gian Lorenzo Bernini's "Saint Peter's Square (Piazza San Pietro)", Vatican City, Rome, 1656-67.

George Bellows, Return of the Useless, 1918, oil on canvas, 149.9 x 167.6 cm (Crystal Bridges Museum of American Art), a Seeing America video Speakers: Dr. Jen Padgett, Associate Curator, Crystal Bridges Museum of American Art and Dr. Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Filippino Lippi, Madonna and Child, c. 1483–84, tempera, oil, and gold on wood, 81.3 x 59.7 cm (The Metropolitan Museum of Art), an Expanding Renaissance Initiative video, find more at https://Smarthistory.org Speakers: Dr. Lauren Kilroy-Ewbank and Dr. Beth Harris. Created by Smarthistory.

The Cinematic Past in the Present

Short Description:
More than one hundred years since it premiered on cinema screens, D. W. Griffith’s controversial photoplay, The Birth of a Nation, continues to influence American film production and to have relevance for race relations in the United States. While lauded at the time of its release for its visual and narrative innovations and a box office hit with film audiences, it provoked African American protest in 1915 for racially offensive content. In this collection of essays, contributors explore Griffith’s film as text, artifact, and cultural legacy and place it into both the historical and transnational contexts of the first half of the 1900s and its resonances with current events in America, such as #BlackLivesMatter, #HollywoodSoWhite, and #OscarsSoWhite movements. Through studies of the film’s reception, formal innovations in visual storytelling, and comparisons with contemporary movies, this work challenges the idea the United States has moved beyond racial problems and highlights the role of film and representation in the continued struggle for equality.

Word Count: 108720

ISBN: 978-0-253-04509-6

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Ambulatory, Basilica of Saint Denis, Paris, 1140-44. Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Met curator Constance McPhee on outsiders in William Blake’s The Parable of the Wise and Foolish Virgins, c. 1799–1800. Created by The Metropolitan Museum of Art.

Immigration and the Know-Nothing Party. David Gilmour Blythe, Justice, c. 1860, oil on canvas, 51.1 x 61.3 cm (Fine Art Museums of San Francisco), a Seeing America video Speakers: Emily Jennings, Director of School and Family Programs, Fine Arts Museums of San Francisco and Beth Harris. Created by Beth Harris and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Discover Bodh Gaya, one of several sights in India associated with the birth of Buddhism.

This art history video discussion looks at Bodhisattva, probably Avalokiteshvara (Guanyin), Northern Qi dynasty, c. 550--60, Shanxi Province, China, sandstone with pigments, 13-3/4 feet / 419.1 cm high (Metropolitan Museum of Art, New York).

Rosa Bonheur, Plowing in the Nivernais (or The First Dressing), oil on canvas, 1849 (Musée d'Orsay, Paris) Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Rosa Bonheur, Sheep in the Highlands, 1857, oil on canvas, 46 x 65 cm (Wallace Collection, London) Speakers: Dr. Beth Harris, Dr. Steven Zucker The Wallace Collection suggests that this painting is likely the result of a trip that the artist made to Scotland the previous year. Created by Beth Harris and Steven Zucker.

Botticelli, La Primavera (Spring), 1481-1482, tempera on panel, 80 x 123 1/2" (203 x 314), Uffizi, Florence Speakers: Dr. Beth Harris and Dr. Steven Zucker http://khan.smarthistory.org/botticelli-primavera.html. Created by Beth Harris and Steven Zucker.

Donato Bramante, Tempietto, c. 1502, San Pietro in Montorio, Rome. Created by Beth Harris and Steven Zucker.

Numerous architects (see below), Saint Peter's Basilica (Basilica Sancti Petri in Latin) begun 1506 completed 1626, Vatican City. Architectural contributors include: Donato Bramante who's design won Julius II's competition Antonio da Sangallo, a student of Bramante, designed the Pauline Chapel Fra Giocondo strengthened the foundation Raphael worked with Fra Giocondo, his redesigned building plan was not executed Michelangelo designed the dome, crossing, and exterior excluding the nave and facade Giacomo della Porta, designed the cupola Carlo Maderno, extended Michelangelo's plan adding a nave and grand facade Gian Lorenzo Bernini added the piazza, the Cathedra Petri, and the Baldacchino Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Constantin Brancusi, Bird in Space, bronze, limestone, wood, 1928 (MoMA) Speakers: Dr. Steven Zucker, Dr. Beth Harris. Created by Beth Harris and Steven Zucker.

Georges Braque, Le Viaduc à L'Estaque, (The Viaduct at L'Estaque), 1908, oil on canvas, 28-5/8 x 23-1/4 inches or 72.5 x 59 cm (Musée national d'art moderne, Centre Pompidou, Paris). Speakers: Dr. Beth Harris and Dr. Steven Zucker.

Mexica brazier of Chicomecoatl, c. 1500, ceramic, found in Tláhuac (south of Mexico City), 104 cm high (Museo Nacional de Antropología, Mexico City) A conversation between Dr. Lauren Kilroy-Ewbank and Dr. Steven Zucker. Created by Smarthistory.

Created by Getty Museum and the Colección Patricia Phelps de Cisneros. Discover how Argentine and Brazilian artists in the 1940s broke from linear perspective to create art in unique shapes, starting the Concrete Art movement. This video is one of three that accompanied the “Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros” (September 16, 2017 – February 11, 2018) at the Getty Museum. For more information visit http://www.getty.edu/art/exhibitions/cisneros. Created by Getty Museum.

Marcel Breuer, The Whitney Museum of American Art (now The Met Breuer), 1963-66, Madison Avenue at East 75th Street, NYC Speakers: Dr. Naraelle Hohensee and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Bronze doors, 1015, commissioned by Bishop Bernward for Saint Michael's, Hildesheim (Germany). A conversation with Dr. Nancy Ross and Jennifer Freeman. Created by Beth Harris and Steven Zucker.

Met curator Seán Hemingway on the purity of love in Bronze statue of Eros sleeping from Greece’s Hellenistic Period, 3rd–2nd century B.C.E. The Hellenistic period introduced the accurate characterization of age. Young children enjoyed great favor, whether in mythological form, as baby Herakles or Eros, or in genre scenes, playing with each other or with pets. This Eros, god of love, has been brought down to earth and disarmed, a conception considerably different from that of the powerful, often cruel, and capricious being so often addressed in Archaic poetry. One of the few bronze statues to have survived from antiquity, this figure of a plump baby in relaxed pose conveys a sense of the immediacy and naturalistic detail that the medium of bronze made possible. He is clearly based on firsthand observation. The support on which the god rests is a modern addition, but the work originally would have had a separate base, most likely of stone. This statue is the finest example of its kind. Judging from the large number of extant replicas, the type was popular in Hellenistic and, especially, Roman times. In the Roman period, Sleeping Eros statues decorated villa gardens and fountains. Their function in the Hellenistic period is less clear. They may have been used as dedications within a sanctuary of Aphrodite or possibly may have been erected in a public park or private, even royal, garden.

Agnolo di Cosimo Bronzino, An Allegory with Venus and Cupid, c. 1545, oil on panel, 146.1 x 116.2 cm (National Gallery, London) Speakers: Dr. Beth Harris and Dr. Steven Zucker.

Bronzino, Portrait of Eleonora di Toledo with her son Giovanni, 1544-1545, oil on panel, 115 x 96 cm (Galleria degli Uffizi). Created by Beth Harris and Steven Zucker.

Bronzino Portrait of a Young Man, oil on panel, 1530s (Metropolitan Museum of Art) and Bronzino, Lodovico Capponi, Oil on panel, 1550-55 (Frick Collection) Speakers: David Drogin and Beth Harris. Created by Beth Harris and Steven Zucker.

This art history video discussion examines Pieter Bruegel the Elder's "The Dutch Proverbs," 1559, oil on oak, 117 x 163 cm (Gemaldegalerie, Staatliche Museen zu Berlin).

This art history video discussion examines Pieter Bruegel the Elder's "The Tower of Babel," 1563, oil on panel, 114 x 155 cm (Kunsthistorisches Museum, Vienna).

Brunelleschi, Dome of the Cathedral of Florence, 1420-36. Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Brunelleschi & Ghiberti, Sacrifice of Isaac, competition panels for the second set of bronze doors for the Florence Baptistery, 1401-2. Created by Beth Harris, Steven Zucker, and Smarthistory.

Brunelleschi, Old Sacristy, San Lorenzo, Florence, begun c. 1421 Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Filippo Brunelleschi, Pazzi Chapel, Santa Croce, Florence, begun 1420s, completed 1460s Speakers: Dr. Beth Harris and Dt. Steven Zucker. Created by Beth Harris and Steven Zucker.

Filippo Brunelleschi's Santo Spirito, Florence, 1428-81 Speakers: Dr. Beth Harris & Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

This art history video discussion examines the Buddha of Medicine Bhaishajyaguru (Yaoshi fo), c. 1319, Yuan dynasty, water-based pigments on clay mixed with straw, 24 feet, 8 inches x 49 feet 7 inches / 751.8 cm x 1511.3 cm (Metropolitan Museum of Art, New York).

Sir Edward Coley Burne-Jones, Hope, 1896, 179 x 63.5 cm, oil on canvas (Museum of Fine Arts, Boston). Created by Beth Harris and Steven Zucker.

Edward Burne-Jones, King Cophetua and the Beggar Maid, oil on canvas, 1884 (Tate Britain, London) Speakers: Dr. Beth Harris, Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Sir Edward Coley Burne-Jones, The Golden Stairs, 1880, oil on canvas 2692 x 1168 mm (Tate Britain, London). Created by Beth Harris and Steven Zucker.

Bushel with ibex motifs, 4200--3500 B.C.E., Susa I period, necropolis, acropolis mound, Susa, Iran, painted terra-cotta, 28.90 x 16.40 cm, excavations led by Jacques de Morgan, 1906-08 (Musée du Louvre, Paris) Speakers: Dr. Beth Harris and Dr. Steven Zucker.

By hammer and fire (a martillo y fuego), Goldmaking techniques of the ancient Colombians © Trustees of the British Museum. Created by British Museum.

This art history video discussion examines "Justinian and His Attendants," 6th century, San Vitale, Ravenna.

Evan and Anne discuss a Byzantine depiction of a griffin, now at the Metropolitan Museum of Art (Acc. 2000.81). CC BY 4.0.

Evan Freeman, PhD and Anne McClanan, PhD discuss a Byzantine mosaic of a personification of Ktisis/Foundation, now at the Metropolitan Museum of Art (Acc. 1999.99). CC BY 4.0.

Harbaville Triptych, mid-10th century, Constantinople, ivory with traces of polychromy, 28.2 x 24.2 x 1.2 cm (Musée du Louvre) A conversation with Dr. Beth Harris and Dr. Steven Zucker. Created by Smarthistory.

Arnold Böcklin, Self-Portrait with Death Playing the Fiddle, 1872, oil on canvas, 75 x 61 cm (Alte Nationalgalerie, Berlin). Created by Beth Harris and Steven Zucker.

Gustave Caillebotte, Man at his Bath, 1884, oil on canvas, 57 x 45 in. (144.8 x 114.3 cm), (Private Collection, on loan to the National Gallery, London) Speakers: Dr. Parme Giuntini, Director of Art History, Otis College of Art and Design Dr. Robert Summers, Lecturer, Otis College of Art and Design. Created by Beth Harris and Steven Zucker.

Gustave Caillebotte, The Floor Scrapers (Les raboteurs de parquet), 1875, oil on canvas, 102 x 146.5 cm (Musée d'Orsay, Paris). Speakers: Dr. Parme Giuntini, Director of Art History, Otis College of Art and Design and Dr. Robert Summers, lecturer, Otis College of Art and Design. Created by Beth Harris and Steven Zucker.

Met curator Marla Prather on motion in Alexander Calder’s Mobile, 1941. Alexander Calder was born to a family of sculptors. His grandfather, Alexander Milne Calder (1846-1923), studied with Thomas Eakins and is famous for the elaborate sculptural decorations of Philadelphia's City Hall. Calder himself had studied to be an engineer at the Stevens Institute of Technology before attending the Art Students League in New York. Like many aspiring artists of his generation, Calder then spent time in Paris where he was inspired by Joan Miró's work and absorbed the playfulness of Dada. Indeed, it was the French artist Marcel Duchamp who christened Calder's hanging sculptures "mobiles." For works such as this one, Calder cut sheet metal into various shapes and assembled these elements in a chain-linked system so that the flat metal pieces move in response to currents of air. This particular mobile was included in the 1942 exhibition "Artists for Victory" at the Metropolitan where the sculpture committee awarded it a prize and recommended it be added to the collection. Created by The Metropolitan Museum of Art.

This is a unit I created for a section of my art history course.  Our community college has a sizeable population of Cambodian immigrants with an interest in learning about their heritage.   Most art history survey courses in the United States do not sufficiently expose students to the culture of Southeast Asia.  

Camel, first half of the 12th century, fresco transferred to canvas, from San Baudelio de Berlanga, Spain (Met Cloisters, New York) speakers: Dr. Lauren Kilroy-Ewbank and Dr. Steven Zucker. Created by Smarthistory.

This art history video discussion examines Robert Campin's (also called the Master of Flemalle) "Christ and the Virgin," c. 1430-35, oil and gold on panel, 11-1/4 x 17-15/16 inches / 28.6 x 45.6 cm (Philadelphia Museum of Art).

This art history video discussion examines Robert Campin's Merode Altarpiece, tempera and oil on panel, 1425-28 (Metropolitan Museum of Art).

Reimagining the Canadian Art History Survey

Word Count: 55767

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Capital of a column from the audience hall of the palace of Darius I, Susa, c. 510 B.C.E., Achaemenid, Tell of the Apadana, Susa, Iran (Louvre). Speakers: Dr. Steven Zucker & Dr. Beth Harris. Created by Steven Zucker and Beth Harris.

4th-3rd century B.C.E. bronze, 69 cm (Capitoline Museums, Rome. Speakers; Dr. Steven Zucker and Dr. Beth Harris. Created by Beth Harris and Steven Zucker.

Capitoline Venus, 2nd century C.E., marble, 193 cm (Capitoline Museums, Rome) (Roman copy of the Aphrodite of Knidos, a 4th century B.C.E. Greek original by Praxiteles) Speakers: Dr. Beth Harris and Dr. Steven Zucker. More art history videos on smarthistory.org.

This art history video discussion examines Caravaggio's "Calling of St. Matthew," oil on canvas, c. 1599-1600 (Contarelli Chapel, San Luigi dei Francesi, Rome).

This art history video discussion examines Caravaggio's "Crucifixion of St. Peter", oil on canvas, 1601 (Santa Maria del Popolo, Rome).

This art history video discussion examines Caravaggio's "Death of the Virgin," 1605-06, Oil on canvas, 12 feet, 10 inches x 8 feet (369 x 245 cm) (Musee du Louvre, Paris). Painted for the altar of a family chapel in the church of Santa Maria della Scala del Trastevere, Rome.

Business, art, and the American West. Carleton E. Watkins, Eagle Creek, Columbia River, 1867, albumen silver print, 40.01 × 52.39 cm (LACMA) A conversation with Elizabeth Gerber and Beth Harris. A Seeing America video. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Jean-Baptiste Carpeaux​, Dance, 1865-69, marble, 420 x 298 cm. (Musée d'Orsay, Paris). Commissioned by Charles Garnier for the facade of L'Opéra. In 1964 it was replaced by a copy executed by Paul Belmondo. Created by Beth Harris and Steven Zucker.

This art history video discussion examines Annibale Carracci's Ceiling of the Palazzo Farnese, fresco, Rome, 1597-1608.

Join Gaylord Torrence and Brian Vallo for a closer look at, and in-depth commentary on, a selection of highlights in the exhibition Art of Native America: The Charles and Valerie Diker Collection. The exhibition is made possible by The Peter Jay Sharp Foundation, the Diane W. and James E. Burke Fund, the Enterprise Holdings Endowment, and the Walton Family Foundation. The Metropolitan Museum of Art is situated in Lenapehoking, the homeland of Lenape peoples, and respectfully acknowledges their ongoing cultural and spiritual connections to the area. Credits Editor: Sarah Cowan Producer: Melissa Bell Audio: David Raymond Photography: Eileen Travell Music: Austin Fisher. Archival images Carrie Bethel, Courtesy Yosemite National Park Archives, Museum, and Library © 2018 The Metropolitan Museum of Art. Created by The Metropolitan Museum of Art.

Weems confronts identity, family, and the myth of home in this iconic series of photographs. Carrie Mae Weems, Untitled (Woman Feeding Bird), The Kitchen Table Series, 1990, gelatin silver print (printed 2015), 27.94 x 27.94 cm © Carrie Mae Weems (Crystal Bridges Museum of American Art) Speakers: Lauren Haynes, Curator, Contemporary Art, Crystal Bridges Museum of American Art and Steven Zucker. A Seeing America video. Created by Beth Harris and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Combining text and photography, contemporary artist Carrie Mae Weems explores the notion of a narrative within her work. Created by Getty Museum.

"There is no open road here." George Tooker, Highway, 1953, egg tempera on gesso hardboard, 58.1 x 45.4 cm (Terra Foundation for American Art, Daniel J. Terra Collection, 1992.134 © Estate of George Tooker). Created by Beth Harris, Smarthistory, and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Henri Cartier-Bresson, Behind the Gare Saint-Lazare, Paris, 1932 Speakers: Dr. Shana Gallagher-Lindsay, Dr. Beth Harris. Created by Beth Harris and Steven Zucker.

Watch a sculptor demonstrate the use of traditional tools—such as the tooth chisel, the point chisel, the drill, and the rasp—as he creates a finished figure from a block of marble. Created by Getty Museum.

A desk made by a formerly enslaved man in the post-Civil War South. Writing desk, attributed to William Howard, c. 1870, yellow pine, tobacco box and cotton crate wood, 154.31 75.88 x 60.17 (Minneapolis Institute of Art) A Seeing America video. Speakers: Dr. Alex Bortolot and Dr. Beth Harris. Created by Beth Harris and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Caryatid (South Porch) and Ionic Column (North Porch), Erechtheion on the Acropolis, Athens, marble, 421-407 B.C.E., Classical Period (British Museum, London); Mnesicles may have been the architect. Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

This is a case for Andy Warhol. You've heard his name. You've seen the Campbell's Soup cans. You might know something about The Factory. But perhaps you've wondered why Andy Warhol gets so much attention or why his work even matters. What's the deal with Warhol, and is he worth your time and consideration? Here's your answer.

This is a case for Mark Rothko. Rectangles after rectangles after rectangles. Rothko was a truly prolific artist who found his groove painting hazy swatches of color and stuck with it until the very end. Maybe you've wondered what the point of it all is, or why he did seemingly the same thing over and over again. Here's your answer. Stay tuned for cases for other artists, living and dead!