Art and Art History Collection (Saskia)
The Art and Art History Collection from Saskia Ltd., Cultural Documentation features a wide range of digital images with an emphasis on the history of Western art. There are 3,645 images in this collection. Image sets include: The Dresden Collection, Brueghel and Rubens, Ancient Greek Art (Architecture and Sculpture), Ancient Art (Minoan and Roman), Roman Art, Michelangelo, Italian Renaissance, Realism, Impressionism, Post-Impressionism, and Contemporary Architecture. Images from art history textbooks include: Gardner, Expanded Gardner, Stokstad, Gilbert, Hartt, Cunningham, and Reich.
Access note: Only thumbnail images and descriptive information are available to non-USF users. Full access to this collection is available only to authorized users on the USF network on campus or via VPN. For more information or to report technical issues please contact us.
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Abbey Church of St. Denis. Consecrated 1140
Unknown
Interior view of ambulatory and radiating chapels
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Abbey Church of St. Denis. Consecrated 1140
Unknown
View up into Gothic vaulting of the ambulatory & radiating chapels, 1140-44 (under colored lights for a celebration)
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Abbey Church of St.-EtiTnne and Abbaye aux Hommes
Unknown
West Fatade: det of upper register and S tower, fr W
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Abbey Church of St.-EtiTnne and Abbaye aux Hommes
Unknown
Interior: view upward into crossing tower, fr S transept
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Abbey Church of St.-EtiTnne and Abbaye aux Hommes
Unknown
Interior view of nave and vaults to the east (ca. 1115-1120)
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Abbey Church of St.-EtiTnne and Abbaye aux Hommes
Unknown
View of Abbey and Abbey Church of St. Etienne, from SW
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Abbey Church of St. Michael
Unknown
Interior: last column, furtherst W, N side, w kneeling angels, 1180
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Abbey Church of St. Michael
Unknown
Interior: Bernward's plain column capital, N side, 2nd fr altar, ca. 1010
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Abbey Church of St. Michael
Unknown
INterior: 4th column fr altar, N side, palm leaves & animal frieze, 1180
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Abbey Church of St. Michael
Unknown
Romanesque Nave Ceiling Painting: The Tree of Jesse, ca.1200. oak. Western half only
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Abduction of Ganymede (detail)
Unknown
The picture of the shepherd boy Ganymede, abducted and taken to Olympus by the father of the gods (in the guise of an eagle), was intended for the same setting as the painting of the nymph Io. Correggio makes skilful use of the narrow format, employing both movement and foreshortening with
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Absinthe
Unknown
Degas evidently retained in memory a moment when his sitters were in pensive mood. He did not seek to flatter them or make a `pretty picture' (an idea he regarded with horror). On the other hand nothing could have been farther from his thoughts than to depict these familiar acquaintances as monsters of dissipation and degradation in order to draw a moral lesson. It might be observed, incidentally, that Desboutin was drinking nothing stronger than black coffee! In England, however, the persons represented were considered to be shockingly degraded an by an involved piece of reasoning the picture itself was regarded as a blow to morality.
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Adoration of the Magi
Unknown
Bassano executed this painting on Verona marble, masterfully integrating the patterning of the marble into his composition. In the tradition of Venetian painters, Bassano was highly regarded for his brilliant manipulation of light and color. For example, in the D'Arcy octagonal marbles, Bassano has harmonized vibrant blues and yellows with the sublime roses and whites of the background surface. The preciousness of material and the treatment of the figures represent a courtly style of painting often called Mannerism. The figures are highly elegant, graceful, and peculiarly elongated. The sophistication of Italian Mannerism, as well as the sumptuous marble and ebony used by Bassano, appealed especially to aristocratic patrons.
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Adoration of the Magi (detail)
Unknown
This tondo shows to what extent Domenico learned the lesson of Gentile da Fabriano. In a similar way to the Strozzi Altarpiece, the traditional subject is depicted as a chivalric or courtly scene, crowded with characters wearing rich and elegant costumes, all described down to the smallest details. This detailed description, which is evident in the landscape as well, and the presence of hunting motifs are the result of the influence northern painting exerted on Domenico. The Berlin tondo is one of the works that demonstrates most clearly the fundamental influences on Domenico's art.
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Adoration of the Magi (detail)
Unknown
This tondo shows to what extent Domenico learned the lesson of Gentile da Fabriano. In a similar way to the Strozzi Altarpiece, the traditional subject is depicted as a chivalric or courtly scene, crowded with characters wearing rich and elegant costumes, all described down to the smallest details. This detailed description, which is evident in the landscape as well, and the presence of hunting motifs are the result of the influence northern painting exerted on Domenico. The Berlin tondo is one of the works that demonstrates most clearly the fundamental influences on Domenico's art.
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Adoration of the Magi (detail)
Unknown
This tondo shows to what extent Domenico learned the lesson of Gentile da Fabriano. In a similar way to the Strozzi Altarpiece, the traditional subject is depicted as a chivalric or courtly scene, crowded with characters wearing rich and elegant costumes, all described down to the smallest details. This detailed description, which is evident in the landscape as well, and the presence of hunting motifs are the result of the influence northern painting exerted on Domenico. The Berlin tondo is one of the works that demonstrates most clearly the fundamental influences on Domenico's art.
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Aerial view toward Porta San Giovanni from Torre Grosso, with Via San Giovanni and adjacent houses (1985)
Unknown
Aerial view of Porta San Giovanni w. Via San Giovanni and adjacent houses
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After the Bath
Unknown
Most of his works executed from 1883 to 1884 on are so marked by a new discipline that art historians have grouped them under the title the "Ingres" period, to signify their vague similarity with the technique of Ingres, or the "harsh," or "dry," period. Renoir's experiments with Impressionism were not wasted, however, because he retained a palette that was bursting with colours. Nevertheless, in paintings from this period, such as "The Umbrellas" (c. 1883) and "Bathers" (1884-87), Renoir emphasized volume, form, contours, and line rather than colour and brushstrokes. His strong reaction against Impressionism continued until about 1890.
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After the Bath
Unknown
Most of his works executed from 1883 to 1884 on are so marked by a new discipline that art historians have grouped them under the title the "Ingres" period, to signify their vague similarity with the technique of Ingres, or the "harsh," or "dry," period. Renoir's experiments with Impressionism were not wasted, however, because he retained a palette that was bursting with colours. Nevertheless, in paintings from this period, such as "The Umbrellas" (c. 1883) and "Bathers" (1884-87), Renoir emphasized volume, form, contours, and line rather than colour and brushstrokes. His strong reaction against Impressionism continued until about 1890.
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After the Bath
Unknown
With Claude Monet, Pierre-Auguste Renoir helped found Impressionism, freeing painting from having to tell a story. Artists could simply capture what they saw. "The artist who uses the least of what is called imagination will be the greatest," he told his son Jean, whose importance as filmmaker equaled his father's as painter. The son of a tailor in Limoges, Renoir saved the money he earned from painting china, fans, and window shades to move to Paris. Gustave Courbet and the Old Masters in the Louvre were his first major influences. With Impressionism in the late 1860s, Renoir began using broken brushstrokes, his color became lighter, and he composed his canvases in patches of colored light.
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After the Bath
Unknown
With Claude Monet, Pierre-Auguste Renoir helped found Impressionism, freeing painting from having to tell a story. Artists could simply capture what they saw. "The artist who uses the least of what is called imagination will be the greatest," he told his son Jean, whose importance as filmmaker equaled his father's as painter. The son of a tailor in Limoges, Renoir saved the money he earned from painting china, fans, and window shades to move to Paris. Gustave Courbet and the Old Masters in the Louvre were his first major influences. With Impressionism in the late 1860s, Renoir began using broken brushstrokes, his color became lighter, and he composed his canvases in patches of colored light.
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Akhnaten (Amenhotep IV), Colossal Pillar Statue from Temple of Ahmen-Re
Unknown
Head and upper torso from front center
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A Lady with a Unicorn
Unknown
The painting earlier was attributed to Perugino, Ridolfo Ghirlandaio, Granacci. At the time (in 1928) of the identification of the artist as Raphael, the painting had been heavily painted over to represent a St Catherine. After careful cleaning, the perfect geometry and detachment of this courtly figure were revealed, although her identity is not known. Present day critics attribute the work to Raphael, referring it to 1505 and to the Florentine environment. It can, in fact, be inserted among the portraits of that period, for it represents an apex in the artist's stylistic development. The fullness of the well constructed figure is set apart from a vast landscape background.
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Allegories of Good Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
This detail from Ambrogio Lorenzetti
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Allegories of Good Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The general idea is resolved into a multitude of anecdotes. One is the dancing maidens central to the allegory of a harmonious government This is one of many entertaining scence furnishing information about Sienese life and customs in the Middle Ages.
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Allegories of Good Government : Allegories of Siena (Common Good), Magnanimity, Temperance and Justice Allegories of Good and Bad Government and the effects of good and bad government
Unknown
When Lorenzetti painted his Allegory of Good Government, Siena's oligarchic administration was about to be overthrown by a popular revolt, so perhaps his image of a responsible realm governed according to the rules of Justice and Concord is a little exaggerated.
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Allegory of Bad Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The vanquised Justitia: the scales are broken and scattered around her on the ground. The grim and threatening presence of a diabolical tyrant is a symbol of
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Allegory of Bad Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
Ambrogio Lorenzetti frescoed the side walls of the Council Room (Sala dei Nove) of the City Hall (Palazzo Pubblico) of Siena. The subject of the frescoes are the Good and Bad Government and their effects on the lives .The Allegory of the Bad Goverment is situated on the wall opposite to Allegory of Good Government. At the centre of the dais sits Tyrannia, with the appearence of a demon, with horns and fangs. The figure of Tyranny has flowing woman's hair, a cloak with gold embroidery and precious stones, a gold cup in her hand and a goat, the traditional symbol of lust, at her feet. Below is the vanquised Justitia: the scales are broken and scattered around her on the ground. Around Tyranny's throne are gathered the Vices.
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Allegory of Bad Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
Lorenzetti's portrait of the tyrant as a rapist (above) draws on the traditional view of the covetous tyrants, who lusts for the daughters and the wives of his subject. This accusation can also be found in Savonarola and Machiavelli. Also shown are arbitrary arrest, assault & killing in the streets, all to depict the loathsomeness of the government.
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Allegory of Bad Government (detail) Allegories of Good and Bad Government and the effects of good and bad government
Unknown
At the centre of the dais sits Tyrannia, with the appearence of a demon, with horns and fangs. The figure of Tyranny has flowing woman's hair, a cloak with gold embroidery and precious stones, a gold cup in her hand and a goat, the traditional symbol of lust, at her feet.
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Allegory of Good Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The general idea is resolved into a multitude of anecdotes. We see some peasants leading their asses to market. These various scenes are most entertaining and furnish much information about Sienese life and customs in the Middle Ages.
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Allegory of Good Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The general idea is resolved into a multitude of anecdotes. We see dances, banquets, children at school, weddings, some peasants leading their asses to market. All these various scenes are most entertaining and furnish much information about Sienese life and customs in the Middle Ages.
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Allegory of Good Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The enthroned man on the right side of the middle band represents the city of Siena and embodies the Good Government. Around his head the four letters C S C V (Commune Saenorum Civitatis Virginis) explain his identity. At his feet the two plating children are the sons of Remus, Ascius snd Senius, the founders of Siena according to the Roman legends. On both sides of Siena the virtues of Good Government are represented by six crowned, stately female figures: Peace, Fortitude and Prudence on the left, Magnanimity, Temperance and Justice on the right. On the far left of the fresco the figure of Justice is repated as she is balancing the scales held by Wisdom.
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Allegory of Good Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The Allegory of the Good Goverment is situated on the smaller wall opposite to the windows. The composition is built up from three horizontal bands. In the foreground the figures of contemporary Siena are represented. Behind them, on a stage, there are allegoric figures in two groups, representing the Good Government. The two groups are connected by the procession of the councillors.
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Allegory of Good Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The two plating children are the sons of Remus, Ascius snd Senius, the founders of Siena according to the Roman legends.To the left are the procession of the councillors.
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Allegory of Good Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The general idea is resolved into a multitude of anecdotes. We see some peasants tilling the ground; in the distance is a port whence vessels are sailing away. All these various scenes are most entertaining and furnish much information about Sienese life and customs in the Middle Ages.
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Allegory of Good Government : Allegories of Peace, Fortitude, Prudence and Siena (common good) Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The middle fresco displays under a dogmatic form the ideal of democracy. The Virtues which direct the State are seated on a platform; this is the tribunal or the legislative assembly. The most famous of these figures is that of Peace, which, reclining on her throne in magnificent drapery and resting on her arms, is certainly imitated from an antique medal or statue (such imitations are not rare in the thirteenth century: cf. the sculptures of Capua, the work of Giovanni Pisano, and some statues at Reims). But the other figures are little more than abstractions and can be identified only with the adventitious aid of a multitude of inscriptions, devices, and phylacteries.
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Allegory of Good Government : Peace Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The middle fresco displays under a dogmatic form the ideal of democracy. The Virtues which direct the State are seated on a platform; this is the tribunal or the legislative assembly. The most famous of these figures is that of Peace, which, reclining on her throne in magnificent drapery and resting on her arms, is certainly imitated from an antique medal or statue (such imitations are not rare in the thirteenth century: cf. the sculptures of Capua, the work of Giovanni Pisano, and some statues at Reims).
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Allegory of Justice Allegories of Good and Bad Government and the effects of good and bad government
Unknown
Allegory of Justice: Commutatitve at left, Distributive at right: Concordia below w prominent citizensThe Allegory of the Good Goverment is situated on the smaller wall opposite to the windows. The composition is built up from three horizontal bands. In the foreground the figures of contemporary Siena are represented. Behind them, on a stage, there are allegoric figures in two groups, representing the Good Government. The two groups are connected by the procession of the councillors. The upper band indicates the heavenly sphere with the floating bodyless ghosts of the virtues. On the far left of the fresco the figure of Justice is repated as she is balancing the scales held by Wisdom.
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Allegory of Magnanimity protected by band of soldiers Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The verses inscribed beneath this part of the fresco indicate that is intended to represent government founded on justice. The ideas on which it is based are derived from medieval texts such as the Latin constitution of Siena written in 1262. These documents drew upon the work of Roman political theorists. The central value emphasized good government must strive to preserve perpetual peace. "Peace being the central virtue of civic life, the question that chiefly preoccupies these writers is how to ensure that numerous enemies are conquered. Among her foes the most obvious is of course said to be guerra or war. But the most insidious--to which they usually devote far more attention--is generally described as discordia or civic disunity."
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Allegory of Painting The Artist in His Studio : The Art of Painting
Unknown
In this painting Vermeer went beyond mere genre painting to produce a rich allegory of painting in a double sense. For all the numerous allegorical tools of Baroque art, the painting still might not be convincing were it not a masterpiece of pure painting. From a darkened room, one looks past a parted curtain, past the intentionally oversized chair into the luminous studio of the artist. The rich dress of the painter seen from behind is strangely old-fashioned.
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Allegory of Painting The Artist in His Studio : The Art of Painting
Unknown
His model poses with the attributes of Clio, the Muse of History: the laurel wreath, the trumpet and a book. Equally important to the allegory are the elements of a still life on the table: treatises on painting, a mask or sculpting study and a sketch book. The map of the 17 provinces of the Low Countries before their partition in 1581 is also significant. Probably the allegory, in which illusion and reality flow together, is to be understood on many different levels: the Muse of History inspires the painter and proclaims the fame of the regions painting tradition as immortalised in history.
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Allegory of Painting The Artist in His Studio : The Art of Painting
Unknown
This painting was long called The Artist in His Studio, and we may in effect presume that the artist seen from behind was himself. However, the intention of representing an allegory is stronger here than in all other Vermeer's works. The heavy curtain on the left, which lets the viewer partake of the scene, has decidedly theatrical connotations. So does the young girl whom the artist portrays, and whose crown of laurel easily identifies her as Fame. A connection with Clio, the muse of history, also exists. She holds a trumpet and a book of Thucydides.
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A Meat Stall with the Holy Family Giving Alms Butcher's Stall
Unknown
In the foreground tables, pots, plates, a barrel, some wickerwork chairs and baskets serve as supports and containers for huge hunks of meat, pig's trotters, soups, chains of sausages hanging down and freshly slaughtered poultry. In the background there is an open, shingle-roofed studded stable with a pole from which further pieces of meat are suspended, including a pig's head, a twisted sausage and some lard. Through the stable we can see a garden scene. On the right, in the middle ground, a farmer is filling a large jug, and behind him we can see a slaughtered and gutted pig, a motif which Beuckelaer also used as an independent motif, as did Rembrandt later (where the animal is a slaughtered ox).
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A Meat Stall with the Holy Family Giving Alms (detail) Butcher's Stall
Unknown
In the 16th and 17th centuries it was quite common for theologians to see a slaughtered animal as symbolizing the death of a believer. Allusions to the 'weak flesh' (cf. Matthew 16:41) may well have been associated with Aertsen's Butcher's Stall where - like on his fruit and vegetable stalls - a seemingly infinite abundance of meat has been spread out.
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A Meat Stall with the Holy Family Giving Alms (detail) Butcher's Stall
Unknown
Pieter Aertsen was one of the first artists to paint "inverted still lifes," works in which the still-life elements are placed prominently in the foreground, while the narrative elements are relegated to the background. A Meat Stall is Aertsen's masterpiece in this genre. A feast for the mind as well as the eyes, this remarkably executed painting abounds with rich symbolism. The juxtaposition of the precisely rendered meats and other foods with the Holy Family in the background symbolically links food for the body with the spiritual "bread of life"- food for the soul, represented by the Christ child and the bread, offered by Mary to the poor family.
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Ang
Unknown
Manet also introduced the technique of lighting faces or figures from the front, almost eliminating shadows. This method, called peinture claire, is now considered one of the basic technical contributions of 19th-century art. Manet, who preferred to paint from nature, chose to picture things in the present and as he saw them. In addition to a representation of the object painted, Manet perceived his work as an arrangement of paint areas on a canvas.
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Annunciation and Nativity (Altarpiece of Observation)
Unknown
The main panel and the predella formed the altarpiece of the church of Observation in Bologna. At both sides of the predella there were two small paintings representing St Clare and St Catherine of Alexandria, presently both in the Thyssen collection in Madrid. The altarpiece was attributed to Mantegna until the end of the 19th century.
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Annunciation and Nativity (Altarpiece of Observation) (detail)
Unknown
The main panel and the predella formed the altarpiece of the church of Observation in Bologna. At both sides of the predella there were two small paintings representing St Clare and St Catherine of Alexandria, presently both in the Thyssen collection in Madrid. The altarpiece was attributed to Mantegna until the end of the 19th century.
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Annunciation and Nativity (Altarpiece of Observation) (detail)
Unknown
The main panel and the predella formed the altarpiece of the church of Observation in Bologna. At both sides of the predella there were two small paintings representing St Clare and St Catherine of Alexandria, presently both in the Thyssen collection in Madrid. The altarpiece was attributed to Mantegna until the end of the 19th century.
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Annunciation and Nativity (Altarpiece of Observation) (detail)
Unknown
The main panel and the predella formed the altarpiece of the church of Observation in Bologna. At both sides of the predella there were two small paintings representing St Clare and St Catherine of Alexandria, presently both in the Thyssen collection in Madrid. The altarpiece was attributed to Mantegna until the end of the 19th century.
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Annunciation with Saints Ansanus and Margherita (detail) The Annunciation and two Saints
Unknown
From the Chapel of Sant'Ansano in the Cathedral of Siena. A late work in which the precious enamel of the colour and the vibrant undulation of the line are carried to the very highest degree. The two lateral saints, St Ansanus and St Margaret, were painted on Simone's design by his pupil and brother-in-law Lippo Memmi.
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Annunciation with Saints Ansanus and Margherita (detail) The Annunciation and two Saints
Unknown
On the gold background the figures of Angel Gabriel and the Virgin enhances Gothic line, without narrative details: just the central pot with lilies, symbolizing Mary's purity, and the olive branch. The golden relief inscription starting from the Angel's mouth contains beginning words of the Annunciation.
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Annunciation with Saints Ansanus and Margherita (detail) The Annunciation and two Saints
Unknown
The altarpiece was executed between 1329 and 1333 for the chapel of Sant'Ansano of the Cathedral in Siena by Simone Martini and his brother-in-law Lippo Memmi, to whom are attibuited the two lateral figures: saint Ansano - patron of Siena - and saint Giulitta. On the gold background the figures of Angel Gabriel and the Virgin enhances Gothic line, without narrative details: just the central pot with lilies, symbolizing Mary's purity, and the olive branch. The golden relief inscription starting from the Angel's mouth contains beginning words of the Annunciation.
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Annunciation with Saints Ansanus and Margherita (detail) The Annunciation and two Saints
Unknown
The altarpiece was executed between 1329 and 1333 for the chapel of Sant'Ansano of the Cathedral in Siena by Simone Martini and his brother-in-law Lippo Memmi, to whom are attributed the two lateral figures: Saint Ansano - patron of Siena - and Saint Giulitta. On the gold background the figures of Angel Gabriel and the Virgin enhances Gothic line, without narrative details: just the central pot with lilies, symbolizing Mary's purity, and the olive branch. The golden relief inscription starting from the Angel's mouth contains beginning words of the Annunciation.
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Annunciation with Saints Ansanus and Margherita (detail) The Annunciation and two Saints
Unknown
The altarpiece was executed between 1329 and 1333 for the chapel of Sant'Ansano of the Cathedral in Siena by Simone Martini and his brother-in-law Lippo Memmi, to whom are attributed the two lateral figures: Saint Ansano - patron of Siena - and Saint Giulitta. On the gold background the figures of Angel Gabriel and the Virgin enhances Gothic line, without narrative details.
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Annunciation with Saints Ansanus and Margherita (detail) The Annunciation and two Saints
Unknown
The altarpiece was executed between 1329 and 1333 for the chapel of Sant'Ansano of the Cathedral in Siena by Simone Martini and his brother-in-law Lippo Memmi, to whom are attributed the two lateral figures: Saint Ansano - patron of Siena - and Saint Giulitta. On the gold background the figures of Angel Gabriel and the Virgin enhances Gothic line, without narrative details: just the central pot with lilies, symbolizing Mary's purity, and the olive branch. The golden relief inscription starting from the Angel's mouth contains beginning words of the Annunciation.
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Annunciation with Saints Ansanus and Margherita The Annunciation and two Saints
Unknown
The altarpiece was executed between 1329 and 1333 for the chapel of Sant'Ansano of the Cathedral in Siena by Simone Martini and his brother-in-law Lippo Memmi, to whom are attibuited the two lateral figures: saint Ansano - patron of Siena - and saint Giulitta. On the gold background the figures of Angel Gabriel and the Virgin enhances Gothic line, without narrative details: just the central pot with lilies, symbolizing Mary's purity, and the olive branch. The golden relief inscription starting from the Angel's mouth contains beginning words of the Annunciation.
