Weems confronts identity, family, and the myth of home in this iconic series of photographs.
Just published
Kaphar takes a violent history and renders it visible in this modified portrait of Andrew Jackson.
Titus Kaphar, The Cost of Removal
![Andy Warhol, Coca-Cola [3] (detail), 1962, casein on canvas, 176.2 x 137.2 cm (Crystal Bridges Museum of American Art, © The Andy Warhol Foundation for the Visual Arts)](https://smarthistory.org/wp-content/uploads/2018/08/Andy-Warhol-Coca-Cola-thumb-570x350.jpg)
With this canvas, Coca-Cola [3], Warhol becomes Warhol.
Warhol, Coca-Cola [3]
How did cabinets of curiosities become temples to the Enlightenment? Explore the fascinating history of museums.
A brief history of the art museum
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Eugène Delacroix, Murals in the Chapel of ...
Art museums and politics have a long and complex relationship; nowhere is this more apparent than the Louvre.
Museums and politics: the Louvre, Paris
A century before democracy was tested by social media gone rogue, Hausmann understood the dark side of technology.
Raoul Hausmann, Spirit of the Age: Mechanical ...
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The problem with Christ
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Unspeakable images: when words fail
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So near and yet so far: visions ...
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This world and the next: Christ on ...
Like place, time is an important theological category and, like the Incarnation, it can be hard to comprehend. This episode looks at sophisticated ways of handling different but related time frames in Ercole de’ Roberti’s ‘The Dead Christ’ (about 1490) and the exquisite ‘The Deposition’ by the Master of the Saint Bartholomew Altarpiece (about 1500–5).
Time and eternity: Yesterday, today, and always
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Putting God in his place: here, everywhere, ...
This episode looks at the visual language of signs and symbols known as iconography. Chloë Reddaway considers the surprising appearance of a snail in Crivelli’s ‘The Virgin and Child with Saints Francis and Sebastian’ (1491) and asks how it might help in the seemingly impossible task of painting Christ. From The National Gallery.
Christ is not like a snail: Signs ...
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Nari Ward, We the People (black version)
Perspective is the star of this painting. Saenredam expertly widens the viewpoint to create an interior panorama.
Saenredam, Interior of Saint Bavo, Haarlem
As people from all over the world visit Pompeii, officials juggle increasing threats to the deteriorating site.
The rediscovery of Pompeii and the other ...
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 ...
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Helen Frankenthaler, Mountains and Sea
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