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.

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.

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.