These carved wooden figures have human faces but animal attributes, and reflected the achievements of their owners. Ikenga (Igbo peoples) by Dr. Peri Klemm, Dr. Steven Zucker and Sunanda K. Sanyal
The artist imbues the scene of the darkening piazza with a sense of foreboding. Giorgio de Chirico, The Soothsayer’s Recompense by Dr. Sophia Maxine Farmer
Exploring how Duchamp's art challenges viewers is essential to understanding his creativity and much of the art of the last century. Marcel Duchamp and the Viewer by Dr. Mark B. Pohlad
A black painter confronts white supremacy amidst the two world wars. Horace Pippin, Mr. Prejudice by Jessica T. Smith, Philadelphia Museum of Art and Dr. Steven Zucker
Which one is “true,” the one that tricks the viewer into thinking it is really there, or the one that announces itself as what it is, lines drawn on paper? Juan Gris, The Table by Dr. Charles Cramer and Dr. Kim Grant
A founding myth for Pennsylvania and for the United States Benjamin West, Penn’s Treaty with the Indians by Monica Zimmerman, Pennsylvania Academy of the Fine Arts and Dr. Beth Harris
Fresh water for a young Philadelphia Thomas Birch, Fairmount Water Works by Dr. Anna O. Marley and Dr. Steven Zucker
Picturing Spanish conquest in an era of U.S. expansion Peter Frederick Rothermel, De Soto Raising the ... by Dr. Anna O. Marley and Dr. Steven Zucker
An artist asks: war or healthcare? Sue Coe, Aids won’t wait, the enemy ... by Monica Zimmerman, Pennsylvania Academy of the Fine Arts and Dr. Beth Harris
"We have met the enemy and they are ours." The battle that turned the War of 1812 Thomas Birch, Perry’s Victory on Lake Erie by Dr. Anna O. Marley and Dr. Steven Zucker
African Americans' ongoing fight against racism in the U.S. undermined the sense of victory in both world wars. Horace Pippin, Mr. Prejudice by Jessica T. Smith, Philadelphia Museum of Art and Dr. Steven Zucker
Living in peace—predator and prey, and Native Americans and settler colonists—but for how long? Hicks’s The Peaceable Kingdom as Pennsylvania parable by Barbara Bassett, Philadelphia Museum of Art and Dr. Beth Harris
An explosion in a mine kills 111, Shahn captures the devastation of those left behind. Ben Shahn, Miners’ Wives by Jessica T. Smith, Philadelphia Museum of Art and Dr. Beth Harris
On the eve of the American Revolution, a glimpse of politics in portraiture John Singleton Copley, Portrait of Mr. and ... by Dr. Kathleen Adair Foster, Philadelphia Museum of Art and Dr. Beth Harris
A brutal history told for a modern American city, Mexican muralism in New York Diego Rivera’s Sugar Cane by Dr. Matthew Affron and Dr. Steven Zucker
How a portrait of an African Muslim came to hang side-by-side with the founding fathers in one of America's earliest museums. An African Muslim among the founding fathers, ... by Dr. Carol Eaton Soltis, Philadelphia Museum of Art and Dr. Steven Zucker
Perspective is the star of this painting. Saenredam expertly widens the viewpoint to create an interior panorama. Saenredam, Interior of Saint Bavo, Haarlem by Dr. Christopher D.M. Atkins and Dr. Steven Zucker
Mary cries and falls into John’s arms. Rogier’s precise observations accentuate the emotional impact of this scene. Rogier van der Weyden, The Crucifixion, with ... by Dr. Christopher D.M. Atkins and Dr. Beth Harris
As the European public grew increasingly hard to scandalize, Duchamp crossed the Atlantic to stir up more trouble. Marcel Duchamp, Nude Descending a Staircase, No ... by Dr. Thomas Folland
Love, sex, science, broken glass, a coffee grinder, a bride from another dimension—this one really has it all. Marcel Duchamp, The Bride Stripped Bare ... by Dr. Lara Kuykendall