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- Smarthistory
The brilliant histories of art belong to everyone, no matter their background With more than 800 contributors from hundreds of colleges, universities, museums, and research centers across the globe, Smarthistory is the most-visited art history resource in the world
- Smarthistory – The Basics of Art History
With more than 800 contributors from hundreds of colleges, universities, museums, and research centers across the globe, Smarthistory is the most-visited art history resource in the world
- Smarthistory – AP®︎ Art History
With more than 800 contributors from hundreds of colleges, universities, museums, and research centers across the globe, Smarthistory is the most-visited art history resource in the world
- Smarthistory – Our mission
Smarthistory is a tiny not-for-profit that collaborates with more than eight hundred art historians, curators, archaeologists, knowledge-bearers, and artists committed to making the history of art accessible to more people, in more places, than any other publisher
- Smarthistory – Europe 1300–1800
With more than 800 contributors from hundreds of colleges, universities, museums, and research centers across the globe, Smarthistory is the most-visited art history resource in the world
- Shiva as Lord of the Dance (Nataraja) - Smarthistory
Caught in a moment of his dance, this many-limbed figure embodies Hindu ideals of beauty and physical perfection
- Smarthistory – Richard Serra, Tilted Arc
Richard Serra wanted passers-by to have a very different relationship to public sculpture His 1981 sculpture Tilted Arc was a 12-foot-tall, 120-foot-long, 15-ton steel slab that cut across Federal Plaza in Lower Manhattan Instead of focusing on the optical experience of sculpture—looking at it from a distance—Serra wanted passers-by to experience the sculpture in a physical way He said
- Smarthistory – Artemisia Gentileschi, Judith Slaying Holofernes
A composition perfected The Uffizi Judith Slaying Holofernes is Artemisia’s second telling of this narrative The first, executed in Rome and now in the Capodimonte Museum in Naples, introduced the dynamic composition centered on the thrust and counter thrust of extended limbs Artemisia refined the composition in the second (Uffizi) version Small but significant adjustments reveal her
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