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/

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/

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

Critics at the World's Fair: "American art has made something of itself." Childe Hassam, Horticulture Building, World's Columbian Exposition, Chicago, 1893, oil on canvas 18-1/2 x 26-1/4 inches / 47.0 x 66.7 cm (Terra Foundation for American Art, Daniel J. Terra Collection, 1999.67), a Seeing America video Speakers: Dr. Katherine Bourguignon, Curator, Terra Foundation for American Art, and Dr. Beth Harris. Created by Beth Harris, Smarthistory, and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Charioteer of Delphi, c. 478-474 B.C.E., bronze (lost wax cast) with silver, glass and copper inlay, 1.8 m high (Delphi Archaeological Museum). Speakers: Dr. Beth Harris and Dr. Steven Zucker. Inscription on base: "Dedicated by Polyzalus, younger brother of Gelon, tyrant of Gela and later of Syracuse, and of Hieron"

A brief introduction to Charlemagne's military campaigns and the cultural revival that he supported. Created by Beth Harris and Steven Zucker.

Chartres Cathedral (Notre Dame de Chartres), c. 1145 and 1194 - c. 1230. Speakers: Dr. Steven Zucker and Dr. Beth Harris.

According to the artist (Reginald Marsh), at Coney Island, “The best show is the people themselves.” Reginald Marsh, Wooden Horses, 1936, tempera on board, 61 x 101.6 cm (Wadsworth Atheneum Museum of Art) A Seeing America video A conversation with Erin Monroe, Robert H. Schutz, Jr., Associate Curator of American Paintings and Sculpture, Wadsworth Atheneum Museum of Art, and Steven Zucker. Created by Beth Harris and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

The Southwest became a hub for artists seeking “quintessentially American” subjects beyond New York and Chicago. A conversation with Dr. Jennifer Henneman, Assistant Curator of Western American Art, Denver Art Museum, and Dr. Beth Harris about E. Martin Hennings, Rabbit Hunt, c. 1925, oil on canvas (Denver Art Museum) A Seeing America video Special thanks to the Denver Art Museum. Find learning related resources here: https://smarthistory.org/seeing-america-2/

New York City as a kaleidoscope of color, sound, and form. Joseph Stella, The Voice of the City of New York Interpreted, 1920-22, oil and tempera on canvas (five panels), 99.75 x 270 inches overall (Purchase 1937 Felix Fuld Bequest Fund 37.288a-e, Newark Museum), a Seeing America video Speakers: Dr. Tricia Laughlin Bloom, Curator of American Art, Newark Museum and Dr. Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Eastman Johnson paints a courageous African American family fleeing slavery. Eastman Johnson, A Ride for Liberty -- The Fugitive Slaves, c. 1862, oil on paperboard, 55.8 x 66.4 cm (Brooklyn Museum) Speakers: Margarita Karasoulas, Assistant Curator of American Art, and Steven Zucker A Seeing America video. Created by Smarthistory. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Making nature useful, the Fairmount Water Works. Thomas Birch, Fairmount Water Works, 1821, oil on canvas, 51.1 x 76.3 cm (Pennsylvania Academy of the Fine Arts), a Seeing America video Speakers: Dr. Anna O. Marley, Curator of Historical American Art, Pennsylvania Academy of the Fine Arts and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Codex Amiatinus, before 716, Wearmouth-Jarrow, c. 505 x 340 mm (Biblioteca Medicea Laurenziana, Florence, MS Amiatino 1) Speakers: Dr. Claire Breay, Head of Ancient, Medieval and Early Modern Manuscripts and Dr. Beth Harris. Created by Beth Harris and Steven Zucker.

A brief explanation of the term contrapposto while looking at "Idolino" from Pesaro, (Roman), c. 30 B.C.E., bronze, 158 cm (Museo Archeologico Nazionale di Firenze), speakers: Dr. Beth Harris and Dr. Steven Zucker. Although these particular objects may not have been known in the Renaissance, the ideas and form of contrapposto were revived in the Italian Renaissance.

A brief explanation of the term contrapposto while looking at "Idolino" from Pesaro, (Roman), c. 30 B.C.E., bronze, 158 cm (Museo Archeologico Nazionale di Firenze), speakers: Dr. Beth Harris and Dr. Steven Zucker. Although these particular objects may not have been known in the Renaissance, the ideas and form of contrapposto were revived in the Italian Renaissance. Speakers: Dr. Steven Zucker and Dr. Beth Harris.