Aaron Douglas, Aspiration, 1936, oil on canvas, 152.4 x 152.4 cm (Fine Arts Museums of San Francisco), a Seeing America video A conversation with Timothy Anglin Burgard, Ednah Root Curator-in-Charge of the American Art Department, Fine Arts Museums of San Francisco, and Beth Harris. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Magdalene Anyango N. Odundo, Symmetrical Reduced Black Narrow-Necked Tall Piece, 1990, terracotta, 40.6 x 25.4 x 25.4 cm (Brooklyn Museum) speakers: Dr. Peri Klemm and Dr. Steven Zucker. Created by Smarthistory.

Speakers: Dr. Steven Zucker and Dr. Beth Harris. Created by Beth Harris and Steven Zucker.

Speakers: Dr. Steven Zucker and Dr. Beth Harris. Created by Beth Harris and Steven Zucker.

Diego Rivera in Depression-era New York. José Diego María Rivera, Sugar Cane, 1931, fresco, 145.1 × 239.1 cm © 2014 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. (Philadelphia Museum of Art) Speakers: Dr. Matthew Affron, Muriel and Philip Berman Curator of Modern Art, Philadelphia Museum of Art and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Sandro Botticelli, Birth of Venus, c. 1485, tempera on canvas, 172.5 x 278.5 cm (Uffizi Gallery, Florence). Speakers: Dr. Steven Zucker and Dr. Beth Harris.

The three major classical orders are Doric, Ionic, and Corinthian. The orders describe the form and decoration of Greek and later Roman columns, and continue to be widely used in architecture today. The Doric order is the simplest and shortest, with no decorative foot, vertical fluting, and a flared capital. Ionic columns are taller and thinner, with a decorative foot and scroll-shaped volutes on the capital. The most complex order is the Corinthian order, which is tall and thin and features a decorative foot, volutes and acanthus leaves on the capital. Created by Beth Harris and Steven Zucker.

Remington mourns the decline of the cowboy by depicting the very thing that destroyed his iconic lifestyle. Frederic Remington, The Fall of the Cowboy, 1895, oil on canvas, 24 x 35 1/8 inches (Amon Carter Museum of American Art), a Seeing America video Speakers: Sara Klein, Teacher and School Programs Manager, Amon Carter Museum of American Art and Steven Zucker. Created by Beth Harris and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Paul Cézanne, Madame Cézanne, in the Conservatory, 1891, oil on canvas, 92.1 x 73 cm (The Metropolitan Museum of Art). Speakers: Jim Coddington and Steven Zucker. Created by Beth Harris and Steven Zucker.

Marble statue of a wounded warrior, c. 138-181 C.E., Roman copy of a Greek bronze sculpture of c. 460–450 B.C.E., 220.98 cm high (The Metropolitan Museum of Art). Speakers: Corey D'Augustine and Dr. Beth Harris.

The conservator’s eye: Rembrandt van Rijn, Aristotle with a Bust of Homer, 1653, oil on canvas, 143.5 x 136.5 cm (The Metropolitan Museum of Art) Speakers: James Coddington and Beth Harris. Created by Beth Harris and Steven Zucker.

Taddeo Gaddi, Saint Julian, 1340, tempera on wood, gold ground, 54 x 36.2 cm (The Metropolitan Museum of Art). Speakers: Corey D'Augustine and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Circle of Peter Hemmel von Andlau (Strassburger Werkstattgemeinschaft), Adoration of the Magi, 1507 or earlier (Munich), pot metal and colorless glass, vitreous paint, and silver stain, 72.4 x 45.7 x 1 cm (The Cloisters, The Metropolitan Museum of Art) Speakers: Sarah Barack and Steven Zucker. Created by Beth Harris and Steven Zucker.

A conversation between Dr. Lauren Kilroy-Ewbank and Dr. Steven Zucker in the atrium of the ex-convento, San Agustín de Acolman, Acolman de Nezahualcóyotl, Mexico. Created by Smarthistory.

Eugène Delacroix, Greece on the Ruins of Missolonghi, 1826, oil on canvas, 208 cm × 147 cm (Musée des Beaux-Arts de Bordeaux). Speakers: Dr. Steven Zucker and Dr. Beth Harris. Created by Beth Harris, Smarthistory, and Steven Zucker.

Willem de Kooning, Woman I, oil on canvas, 1950-52 (MoMA) Speakers: Dr. Beth Harris, Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Photographing one of the world's most tragic environmental disasters. Sebastião Salgado, Kuwait, 1991, gelatin silver print, 45.24 × 30.1 cm (Los Angeles County Museum of Art, gift of Gary Sato, AC1998.162.1, ©Sebastião Salgado), a Seeing America video speakers: Eve Schillo, Assistant Curator, Wallis Annenberg Photography Department, Los Angeles County Museum of Art and Steven Zucker. Created by Beth Harris and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Ewer (brocca), c. 1575–87, soft-paste porcelain, decorated in underglaze blue, 20.3 x 10.8 x 12.4 cm (The Metropolitan Museum of Art). Speakers: Dr. Lauren Kilroy-Ewbank and Dr. Steven Zucker In the 1560s, the Grand Duke of Florence, Francesco I de’ Medici, started a ceramic workshop in Florence with the intent to produce true porcelain (Chinese porcelain). After more than 10 years of experimentation, the workshop was able to make a type of porcelain that we now call soft-paste porcelain, which is considered an inferior type of porcelain. The experiment had failed to replicate true porcelain, yet Francesco was immensely proud of his workshop’s achievements. Even if it was not of the same quality as true Chinese porcelain, the Medici porcelain was still a significant achievement in its own right. Francesco added the Medici mark (an F and a dome) to his porcelain, which he often gave as diplomatic gifts. These ceramics were very expensive to produce because they required so much wood to fire the kilns. They also represent Francesco’s interest in alchemy, the attempt to transform one substance into another. Many of the surviving Medici porcelain examples demonstrate how artists in Florence adapted and transformed the decorations found on Chinese porcelain exported from Jingdezhen and Iznik ceramics from the Ottoman Empire. Medici porcelain also often includes grotesques, which are decorative elements that had become popular in the Renaissance era with the rediscovery of the ancient Roman Domus Aurea (a palace of the Roman emperor Nero). Today, just over 50 examples of Medici porcelain survive. Terms and key ideas: Medici porcelain factory Francesco I de’ Medici soft-paste porcelain kaolin alchemy Chinese porcelain Iznik ceramics transculturalism. Created by Beth Harris, Smarthistory, and Steven Zucker.

Alfred Stieglitz, The Steerage, 1907, photograph, 33.34 x 26.51 cm (includes black border), Museum Library Purchase, 1965 (LACMA M.65.76.1) A conversation with Eve Schillo, Assistant Curator, Los Angeles County Museum of Art and Beth Harris A Seeing America video. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Two marble portrait busts, 2nd century C.E., found during an excavation in 1949, Lullingstone Roman Villa, Kent (British Museum, on loan from Kent County Council). Speakers: Dr. Elizabeth Marlowe and Dr. Steven Zucker.