Have you heard of Italian Baroque artist Artemisia Gentilschi? Find out why her popularity, and that of other artists, has risen dramatically since the 1970s. From Art Assignment. Created by Smarthistory.

There is a huge range of ways that gender has been understood and represented in the history of art. We look at a few examples that show us gender is a concept that has never been fixed: Hermaphroditos by the ancient Greeks, Titian's Venus of Urbino, Baule portrait masks, the photographs of Claude Cahun and Marcel Moore, and Maya stone carvings.

Resistance isn't always visible, but when we can see it in art, what does it look like?

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.

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

What's the point of making realistic paintings when photography can do the trick? We look at the history of artists recreating the world as we see it and ponder why it's still happening. From Art Assignment.

Special thanks to Susana Sosa, Rachel Barron Duncan, Nicole Gherry, Kim Richter, and Rachel Miller whose voices and insights are featured here. This video was made possible thanks to the Macaulay Family Foundation. Created by Smarthistory.

By calling attention to identity, sexuality, politics, and history, women artists have dominated the art debates for the last several decades. Despite this, only a small percentage of gallery collections and displays belong to women artists, even today. So how do we go about talking about women in art history? Learn more about the changing role of female artists in a male dominated art world over the centuries. Join Jemima Kirke as she guides us through a history of women in art, exploring the ways in which they have been represented, underrepresented, and sometimes misrepresented. Should there exist a separate Women’s Art History to tell this story, or is it simply a matter of inserting women into existing narratives? What about removing the label altogether, and referring to women artists as just artists? Would this ignore an important component of identity or recognise that women and men can be artists in equal measure? How can women artists be sufficiently recognised without distancing them from art history as we know it? Created by Tate.

Corporate lobbies and board rooms are often graced with impressive art, but why? What's the rationale behind this expense, and what impact does it have on the rest of the art world? We look at the history of corporate collecting, starting with Chase Manhattan Bank in 1959, trace its meteoric rise since, and work through the reasoning behind it.

Was your Art History class an endless succession of names and dates and movements? Art History doesn't have to be that way!

Special thanks to Susana Sosa, Rachel Barron-Duncan, Derek Burdette, Kim Richter, and Rachel Miller whose voices and insights are featured here. Created by Beth Harris, Smarthistory, and Steven Zucker.

Why look at art? This was the question we posed to several of our colleagues at a conference for museum professionals. Special thanks to Laura Mann, Anna Velez, an anonymous professional, and David Torgersen whose voices and insights are included here. Created by Beth Harris and Steven Zucker.

Special thanks Rachel Bower, Nicole Gherry, Livia Alexander, Derek Burdette, Rachel Miller, Kim Richter, and Rachel Barron-Duncan whose voices and insights are featured here. This video was made possible thanks to the Macaulay Family Foundation. Created by Beth Harris, Smarthistory, and Steven Zucker.

This is a very basic resource. Sections may be of use, but would not be sufficient for an entire course. There are sections on Prehistoric art, ancient art, Renaissance, and so on. The 18th, 19th, and 20th centuries are all grouped together. There is more information on wikipedia than is included here.

Part of the challenge of depicting Christ lies in showing his ‘visibility’ as a man who lived on earth, while also indicating the ‘invisibility’ of God eternal. This episode looks at ‘The Virgin and Child with Two Angels’ by Andrea del Verrocchio and Lorenzo di Credi (around 1476–8) and ‘The Vision of the Blessed Gabrielle’ by Carlo Crivelli (probably about 1489), and considers the pictorial device of the ‘threshold’ as a visual response to the simultaneous proximity of divine presence and the utter transcendence of God.

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.

How do artists handle the challenge of attempting to depict a figure who lived a human life on earth – at a specific time and in specific places – but who was simultaneously divine, beyond place and time? In this episode Chloë Reddaway shows how artists have used ‘place’ in their paintings to point to the limitations of our vision and understanding when pondering this mystery, focusing on the mysterious location of Lorenzo di Credi’s ‘The Virgin and Child’ (about 1480–5) and the spatial metaphors at work in Filippo Lippi’s ‘The Annunciation’ (about 1450–3).

This episode explores three popular picture types which have no gospel basis but which use temporal and spatial ambiguity to reflect on the mystery of Christ having a temporal life on earth, and also being part of the eternal Trinity. The principal paintings discussed in this episode are ‘The Virgin and Child in a Landscape’ by Jan Provoost (early 16th century), ‘The Virgin and Child Enthroned by Cosimo Tura’ (mid-1470s), and ‘Christ Crowned with Thorns’ by Dirk Bouts (about 1470).