By the Victoria & Albert Museum. Focusing on the three types of …
By the Victoria & Albert Museum. Focusing on the three types of object featured in the V&A display Renaissance Watercolours: illuminated manuscripts, portrait miniatures and coloured drawings, this film showcases the qualities that made watercolour the medium of choice for many artists during the Renaissance. A modern-day painting of a pomegranate, using traditional watercolour techniques, by artist Lucy Smith, also demonstrates how watercolour painting remains a versatile medium, ideal for capturing life-like details that help us to record our diverse world.
A conversation between Dr. Lauren Kilroy-Ewbank and Dr. Beth Harris in front …
A conversation between Dr. Lauren Kilroy-Ewbank and Dr. Beth Harris in front of Nicola da Urbino, armorial plate (tondino), The Story of King Midas, c. 1520–25, tin-glazed earthenware, 27.5 cm in diameter (The Metropolitan Museum of Art). Created by Smarthistory.
Piero della Francesca, The Resurrection, c. 1470 (fresco, 225 x 200 cm …
Piero della Francesca, The Resurrection, c. 1470 (fresco, 225 x 200 cm (Museo Civico, Sansepolcro, Italy). A conversation with Dr. Steven Zucker and Dr. Beth Harris This video (and Smarthistory's ARCHES series) has been made possible in part by a major grant from the National Endowment for the Humanities. Any views, findings, conclusions or recommendations expressed in this video do not necessarily represent those of the National Endowment for the Humanities. Created by Beth Harris, Smarthistory, and Steven Zucker.
A conversation between Dr. Lauren Kilroy-Ewbank and Dr. Beth Harris in front …
A conversation between Dr. Lauren Kilroy-Ewbank and Dr. Beth Harris in front of a pendant triptych with scenes of the Passion, 16th century, boxwood, feathers, gold, enamel, 4.4 x 4.4 cm (The Metropolitan Museum of Art). Created by Beth Harris, Smarthistory, and Steven Zucker.
In this lesson, students discuss and evaluate artwork by Jill Pelto, investigate …
In this lesson, students discuss and evaluate artwork by Jill Pelto, investigate renewable and nonrenewable energy, and demonstrate their learning through writing or drawing.
Step 1 - Inquire: Students discuss and evaluate artwork by Jill Pelto and learn more about her career.
Step 2 - Investigate: Students learn the definitions of renewable and nonrenewable energy, read Sven's Search for Clean Energy, and take notes on renewable and nonrenewable energy.
Step 3 - Inspire: Students write a paragraph or draw a comic to demonstrate their new knowledge.
Pierre Auguste Renoir, La Loge, 1874, oil on canvas, 31 1/2 x …
Pierre Auguste Renoir, La Loge, 1874, oil on canvas, 31 1/2 x 24 5/8 in. (80 x 63.5 cm) (Courtauld Gallery, London) Speakers: Dr. Beth Harris, Rachel S. Ropeik This painting was exhibited by Renoir at the first Impressionist exhibition in Paris (1874). Created by Beth Harris and Steven Zucker.
Renoir, Luncheon of the Boating Party, 1880-81, oil on canvas, 130.2 x …
Renoir, Luncheon of the Boating Party, 1880-81, oil on canvas, 130.2 x 175.6 cm (Phillips Collection, Washington, D.C.) Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.
Pierre-Auguste Renoir's 1876 painting Le Moulin de la Galette is an early …
Pierre-Auguste Renoir's 1876 painting Le Moulin de la Galette is an early French impressionist painting, now located at the Musee D'Orsay in Paris. The painting depicts a convivial scene of people mingling at the Moulin de la Galette, an outdoor dance hall in a working-class neighborhood. Painted only five years after the first Impressionist show, the painting features the free brushstrokes and play of light that characterized Impressionism. Speakers: Dr. Steven Zucker and Dr. Beth Harris
Pierre-Auguste Renoir, The Grands Boulevards, 1875, oil on canvas, 20-1/2 x 25 …
Pierre-Auguste Renoir, The Grands Boulevards, 1875, oil on canvas, 20-1/2 x 25 inches / 52.1 x 63.5 cm (Philadelphia Museum of Art). Created by Beth Harris and Steven Zucker.
Pierre-Auguste Renoir, The Large Bathers, 1884-87, oil on canvas, 46-3/8 x 67-1/4 …
Pierre-Auguste Renoir, The Large Bathers, 1884-87, oil on canvas, 46-3/8 x 67-1/4 inches / 117.8 x 170.8 cm (Philadelphia Museum of Art). Created by Beth Harris and Steven Zucker.
Representation & Abstraction: Looking at Millais and Newman John Everett Millais, Ophelia, …
Representation & Abstraction: Looking at Millais and Newman John Everett Millais, Ophelia, 1851-2 (Tate Britain) and Barnett Newman, Vir Heroicus Sublimus, 1950-51 (MoMA) A conversation with Sal Khan, Beth Harris & Steven Zucker. Created by Beth Harris, Steven Zucker, and Sal Khan.
This remarkable work honors those who fought for their own freedom, but …
This remarkable work honors those who fought for their own freedom, but acknowledges that the struggle goes on. A conversation with Erin Long, Lead Gallery Teacher, Amon Carter Museum of American Art and Beth Harris in front of John Quincy Adams Ward, The Freedman, 1863, bronze (Amon Carter Museum of American Art, Fort Worth, Texas). Created by Beth Harris and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/
What can historical paintings tell us about the past? Are they trustworthy, …
What can historical paintings tell us about the past? Are they trustworthy, or should we just chalk them up to an artist’s random doodles? This resource links to a "Genial.ly" presentation with a collection of images from John Lewis Krimmel (1786-1821) with interactive annotations. All of the images can be used in conjunction with studying the War of 1812 or Federal period in US History. The final slide includes four suggestions for responding to the historic images as a way of using them as evidence about the past. If you evaluate or use this resource, please respond to the short (4 question) survey here bit.ly/3luUea2
What happens when a priceless work of art is vandalised? Filmed over …
What happens when a priceless work of art is vandalised? Filmed over 18 months, this video tells the story behind the restoration of Mark Rothko’s 1958 painting Black on Maroon after it was unexpectedly graffitied in October 2012. Since being damaged, the painting has undergone over a year of intensive restoration work by the Conservation team and colleagues across the gallery. Nine months of research on how to remove ink from the delicate and aged layers of paint, using special solvents and cleaning methods, were followed by nine months of painstaking work on the painting itself. Would the painting ever look the same again? Is it possible to restore a painting without leaving a trace? Find out on this journey through art, science, and conservation.
Review of Trivium Art History (It also goes by the name of …
Review of Trivium Art History (It also goes by the name of Obelisk Art History) https://drive.google.com/open?id=1ZoZ9cW_b1tHzD54-Kb9zs4IzD980cCLyWYugbf5IVrY
Science and art in 19th century America. Frederic Edwin Church, The Iceberg, …
Science and art in 19th century America. Frederic Edwin Church, The Iceberg, c. 1875, oil on canvas, 55.9 x 68.6 cm (Terra Foundation for American Art, Daniel J. Terra Collection, 1993.6), a Seeing America video speakers: Dr. Peter John Brownlee, Curator, Terra Foundation for American Art and Dr. Beth Harris. Created by Beth Harris, Smarthistory, and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/
Wood infuses a famous folktale about George Washington with theatricality, humor, and …
Wood infuses a famous folktale about George Washington with theatricality, humor, and a Gilbert Stuart sample. A conversation with Dr. Shirley Reece-Hughes, Curator, Amon Carter Museum of American Art and Dr. Steven Zucker in front of Grant Wood, Parson Weems' Fable, 1939, oil on canvas, 38 1/8 x 50 1/8 inches (Amon Carter Museum of American Art). Find learning related resources here: https://smarthistory.org/seeing-america-2/
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