Gustave Caillebotte, The Floor Scrapers (Les raboteurs de parquet), 1875, oil on canvas, 102 x 146.5 cm (Musée d'Orsay, Paris). Speakers: Dr. Parme Giuntini, Director of Art History, Otis College of Art and Design and Dr. Robert Summers, lecturer, Otis College of Art and Design. Created by Beth Harris and Steven Zucker.

Camel, first half of the 12th century, fresco transferred to canvas, from San Baudelio de Berlanga, Spain (Met Cloisters, New York) speakers: Dr. Lauren Kilroy-Ewbank and Dr. Steven Zucker. Created by Smarthistory.

Capital of a column from the audience hall of the palace of Darius I, Susa, c. 510 B.C.E., Achaemenid, Tell of the Apadana, Susa, Iran (Louvre). Speakers: Dr. Steven Zucker & Dr. Beth Harris. Created by Steven Zucker and Beth Harris.

4th-3rd century B.C.E. bronze, 69 cm (Capitoline Museums, Rome. Speakers; Dr. Steven Zucker and Dr. Beth Harris. Created by Beth Harris and Steven Zucker.

Capitoline Venus, 2nd century C.E., marble, 193 cm (Capitoline Museums, Rome) (Roman copy of the Aphrodite of Knidos, a 4th century B.C.E. Greek original by Praxiteles) Speakers: Dr. Beth Harris and Dr. Steven Zucker. More art history videos on smarthistory.org.

Business, art, and the American West. Carleton E. Watkins, Eagle Creek, Columbia River, 1867, albumen silver print, 40.01 × 52.39 cm (LACMA) A conversation with Elizabeth Gerber and Beth Harris. A Seeing America video. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Jean-Baptiste Carpeaux​, Dance, 1865-69, marble, 420 x 298 cm. (Musée d'Orsay, Paris). Commissioned by Charles Garnier for the facade of L'Opéra. In 1964 it was replaced by a copy executed by Paul Belmondo. Created by Beth Harris and Steven Zucker.

Weems confronts identity, family, and the myth of home in this iconic series of photographs. Carrie Mae Weems, Untitled (Woman Feeding Bird), The Kitchen Table Series, 1990, gelatin silver print (printed 2015), 27.94 x 27.94 cm © Carrie Mae Weems (Crystal Bridges Museum of American Art) Speakers: Lauren Haynes, Curator, Contemporary Art, Crystal Bridges Museum of American Art and Steven Zucker. A Seeing America video. Created by Beth Harris and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

"There is no open road here." George Tooker, Highway, 1953, egg tempera on gesso hardboard, 58.1 x 45.4 cm (Terra Foundation for American Art, Daniel J. Terra Collection, 1992.134 © Estate of George Tooker). Created by Beth Harris, Smarthistory, and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Henri Cartier-Bresson, Behind the Gare Saint-Lazare, Paris, 1932 Speakers: Dr. Shana Gallagher-Lindsay, Dr. Beth Harris. Created by Beth Harris and Steven Zucker.

A desk made by a formerly enslaved man in the post-Civil War South. Writing desk, attributed to William Howard, c. 1870, yellow pine, tobacco box and cotton crate wood, 154.31 75.88 x 60.17 (Minneapolis Institute of Art) A Seeing America video. Speakers: Dr. Alex Bortolot and Dr. Beth Harris. Created by Beth Harris and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Caryatid (South Porch) and Ionic Column (North Porch), Erechtheion on the Acropolis, Athens, marble, 421-407 B.C.E., Classical Period (British Museum, London); Mnesicles may have been the architect. Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Mary Cassatt, Breakfast In Bed, 1897 (Huntington Library) Speakers: Beth Harris and Steven Zucker. Created by Beth Harris and Steven Zucker.

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/

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

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.