Mary Cassatt, In the Loge, 1878, oil on canvas, 81.28 x 66.04 cm / 32 x 26 inches (Museum of Fine Arts, Boston), speakers: Dr. Beth Harris and Dr. Steven Zucker. In nineteenth century France, the gaze of the observer—whether on Napoleon's grand new boulevards or in the opera—was very much structured by issues of economic status. Mary Cassatt's remarkable painting In the Loge (c. 1878-79) clearly shows the complex relationship between the gaze, public spectacle, gender, and class privilege. Cassatt was a wealthy American artist who had adopted the style of the Impressionists while living in Paris. Here she depicts a fashionable upper-class woman in a box seat at the Paris opera (as it happens, the sitter is Cassatt's sister, Lydia). Lydia is shown holding opera glasses up to her eyes; but instead of tilting them down, as she would if she were watching the performance below, her gaze is level. She peers straight across the chamber perhaps at another member of the audience. Look closely and you will notice that, in turn, and in one of the boxes across the room, a gentleman is gazing at her. Lydia is then, in a sense, caught between his gaze and ours even as she spies another.

Mary Cassatt, The Child's Bath, 1893, oil on canvas, 100.3 x 66.1 cm / 39-1/2 x 26 inches (Art Institute of Chicago). Created by Beth Harris and Steven Zucker.

Mary Cassatt, The Loge, oil on canvas, 1882. 31-7/16 x 25-1/8 inches (National Gallery of Art) Speakers: Beth Harris and Steven Zucker. Created by Beth Harris and Steven Zucker.

Mary Cassatt, Woman with a Pearl Necklace in a Loge, 1879, oil on canvas, 32 x 23-1/2 inches or 81.3 x 59.7 cm (Philadelphia Museum of Art). Created by Beth Harris and Steven Zucker.

These challenging paintings visually separate indigenous Americans from the Spanish elite; most were exported. Francisco Clapera, Set of Sixteen Casta paintings, c. 1775, 51.1 x 39.6 cm (Denver Art Museum). Speakers: Sabina Kull, Meyer Center Fellow, Denver Art Museum and Beth Harris. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Adriaen de Vries, a 17th century Dutch sculptor, often used "direct lost-wax casting." Because the wax is "lost," each bronze cast is unique. If the casting fails, the sculptor begins again. Created by Getty Museum.

Bronze, a combination of copper, tin, and other metals, has long been prized for its ability to register fine details. Watch indirect lost-wax casting, a technique developed by artists in the 1500s. Created by Getty Museum.

Catacomb of Priscilla, Rome, late 2nd century through the 4th century C.E. Speakers: Dr. Beth Harris and Dr. Steven Zucker

Catharine Esther Beecher was a nineteenth century teacher and writer who promoted equal access to education for women.

This resource is from a collection of biographies of famous women. It is provided by the National Women's History Museum, and may include links to supplemental materials including lesson plans about the subject and related topics, links to related biographies, and "works cited" pages. The biographies are sponsored by Susan D. Whiting.

The Cathedral of Notre-Dame, Paris, begun 1163 (recorded before the fire). speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Environmental health advocate Catherine Coleman Flowers is determined to battle “America’s Dirty Secret”: unequal sewage and sanitation access for rural communities and people of color.

This resource is from a collection of biographies of famous women. It is provided by the National Women's History Museum, and may include links to supplemental materials including lesson plans about the subject and related topics, links to related biographies, and "works cited" pages. The biographies are sponsored by Susan D. Whiting.

Video by the Los Angeles County Museum of Art. On the occasion of her exhibition Figure and Landscape, Opie talks about the series. Created by Smarthistory.

A satire condemning the duplicity and conspiracy of the "Bucktail" faction of New York Democrats in their April 1824 ouster of New York's ex-governor DeWitt Clinton from his post as canal commissioner. The Library's impression of the print has the missing letters in the names of the figures filled in by hand. Twelve men stand in a room, with a platform, table, and lamp on the right. On the left G[ardiner] is about to exit saying, "I will run home and ask the people how they will like it before I give my vote." To the left of the platform P[ierson] says to B[ourne], "I hope we shall give you a united vote for the removal of Mr. Clinton I have long wished an opportunity to have revenge on him for blowing up the old Burr Conspiracy." B[ourne]: "I am delighted with the prospect! Clinton has always been my devil--it will be impossible to pull him down to our level if we do not dishonor him. I recommend secrecy as success depends upon our taking the members by surprise at the moment of adjournment." Others in the room speak (counterclockwise, from the far left): S[eama]n: "I beg of you to pause ere you adopt any more lobby measures--we were sent here for public good--yet all our measures have for their object individual benefit. This base deed will produce a reaction and may make him Governor. The republican party so justly famed for justice and liberality will in their haste to free themselves from this odium forget and forgive everything." M[ors]e: "The North river squad think the Canal a benefit to ourside [sic] of the City and they will therefore disapprove our dishonoring its founder." D[rake]: "I wish I could be excused from voting, my conscience tells me it is wrong my judgment tells me it will dishonor the State--but the lobby requires it and it must be done." H[yatt]: "I vote here against the measure but if a majority of this meeting decide in its favor I will vote for it in the house tomorrow as my creed is the majority must rule." B[enedict]: "It is inconsistant with a Soldiers honor to build up or pull down any man to gratify angry or sordid passions --besides this lobby influence must be check'd or it will ruin the State." [Henry] W[heaton]: "I will support the measure to punish him for the injury he did our profession by recommending the fee bill and extending the jurisdiction of the judges." [Clarkson] C[rolius]: "I will support the measure in hopes of appeasing the wrath of the Bucktails altho' I fear they are too hard baked to be gull'd in this way. Besides My Insurance Co. & the lobby." W[ar]d: "My vote shall be given for this removal because he is the author of all our troubles about the electoral law. When Govr. he recommended to the Legislature the restoration of the peoples rights." T[own]: "It is true he has been my Benefactor and I ought to shudder at the deed but three months tuition in the hands of the lobby does away these squeamish feelings." Above, in a cloud, is Columbia with an American flag and an eagle, saying, "I renounce them and their ways."|Title appears as it is written on the item.|Murrell, p. 98.|Weitenkampf, p. 21.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1824-1.

A derisive view of Andrew Jackson's reluctant, politically-minded endorsement of the Distribution Act, or "Surplus Bill," a measure authorizing distribution of surplus federal funds among the states. Facing the prospect of an almost certain Congressional override should he veto the bill, Jackson signed it on June 23, 1836, abetting Vice-President Van Buren's bid for the presidency that year. The cartoon shows Jackson (right), Van Buren (left) and Van Buren running-mate Richard M. Johnson, seated at a table pondering the bill. Jackson (with a quill in his teeth, and a spittoon or brazier by his feet): What the devil shall I do Matty, with this Bill? if I veto it the cursed Whigs are strong enough to pass it!! Van Buren (head in hand): We are in a bad box General; I'm dead against giving away a dollar, but as you say, needs must when the devil drives!! Kendall/Johnson: It's hard to part with our Surplus, but the people are too strong for us!! The print is evidently a reversed copy of a print by the same title published by H. R. Robinson in June 1836 at 48 Courtlandt Street.|Printed & publ by H.R. Robinson, 52 Cortlandt Strt. N-York.|Title appears as it is written on the item.|Davison, no. 71.|Weitenkampf, p. 41.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1836-9.

How did events in the years after 1980 affect national identity in the United States? In this video, Kim discusses changes in US foreign policy, economics, and politics, attempting to place the developments of this era into a broader historical context.

This kit provides teachers and other educators with the materials and guidance to help fourth grade students understand the reasons that the British colonists elected to declare their independence from King George III between the years 1763-1776. As a part of these lessons students will be encouraged to consider the intent and impact of media documents from a variety of points of view including those of the colonists, King George, patriots, loyalists, slaves and Native Americans.

Students will analyze multiple sources to determine which of the causes of the Civil War each source best supports. Students will support their choices with evidence from the source and their own understanding of the causes of the Civil War.

Cecilia Chung is a groundbreaking advocate for the transgender community and those living with HIV/AIDS.

This resource is from a collection of biographies of famous women. It is provided by the National Women's History Museum, and may include links to supplemental materials including lesson plans about the subject and related topics, links to related biographies, and "works cited" pages. The biographies are sponsored by Susan D. Whiting.

The ceiling of the Sistine Chapel is one of Michelangelo's most famous works. Learn more about the history of this masterpiece. 1508-12, fresco (Vatican, Rome). Created by Beth Harris and Steven Zucker.