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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Boating
Unknown
The straw boater (hat) became synonymous with summer leisure. In the hard-scrabble, often oppressive Industrial Revolution, leisure time for many was hard to come by. Owning and wearing a straw boater was the wearer's badge that life had become more than simply hard work. Manet, as well as other artists of the time, use the boater as a symbol of the good life and the emergence of "leisure" as a right and privlage. According to various scholars the man at the tiller may be Rudolph Leenhoff, Manet's brother-in-law.The stippled parts of the painting, made up of mass color, are consistent with the concept of Impressionism, but there are touches of black present, which would have been considered a heresy by the instigators of the movement.
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Boating (detail)
Unknown
The straw boater (hat) became synonymous with summer leisure. In the hard-scrabble, often oppressive Industrial Revolution, leisure time for many was hard to come by. Owning and wearing a straw boater was the wearer's badge that life had become more than simply hard work. Manet, as well as other artists of the time, use the boater as a symbol of the good life and the emergence of "leisure" as a right and privlage. According to various scholars the man at the tiller may be Rudolph Leenhoff, Manet's brother-in-law.The stippled parts of the painting, made up of mass color, are consistent with the concept of Impressionism, but there are touches of black present, which would have been considered a heresy by the instigators of the movement.
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Luncheon in the Studio After Coffee: in the Studio
Unknown
In October 28, 1863, Manet married Suzanne Leenhoff in Holland. Manet
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Luncheon in the Studio After Coffee: in the Studio
Unknown
In October 28, 1863, Manet married Suzanne Leenhoff in Holland. Manet
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Sancho Panza
Unknown
Daumier's paintings were probably done for the most part fairly late in his career. Although he was accepted four times by the Salon, he never exhibited his paintings otherwise and they remained practically unknown up to the time of an exhibition held at Durand-Ruel's gallery in 1878, the year of his death. The paintings are in the main a documentation of contemporary life and manners with satirical overtones, although he also did a number featuring Don Quixote as a larger-than-life hero. His technique was remarkably broad and free.
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Wounded Man (Self Portrait) Portrait of the Artist, called "The Wounded Man"
Unknown
Courbet ,who in his pictures constantly examined himself and his artistry, often re-worked his portraits according to his moods and viewpoints, and it is possible that the painful separation from his lover in the years between 1851-54 prompted "The Wounded Man". He sees himself as wounded by heartache and abandoned in a twilit landscape.One can hardly overlook the similarity between his figure and that of Christ. Identifying with Christ gave the artist the possibility of expressing his status as that of a pariah fired by an ideal, as one burdened with insight in an uncomprehending society.
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Sunday Afternoon on La Grande Jatte A Sunday Afternoon on the Grande Jatte
Unknown
"Seurat's Grande Jatte is one of those rare works of art that stand alone; its transcendence is instinctively recognized by everyone. What makes this transcendence so mysterious is that the theme of the work is not some profound emotion or momentous event, but the most banal of workaday scenes: Parisians enjoying an afternoon in a local park. Yet we never seem to fathom its elusive power. Stranger still, when he painted it, Seurat was a mere 25 (with only seven more years to live), a young man with a scientific theory to prove; this is hardly the recipe for success. His theory was optical: the conviction that painting in dots, known as pointillism or divisionism, would produce a brighter color than painting in strokes.
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The Funeral at Ornans (detail) A Burial at Ornans
Unknown
The painting belonged to Juliette Courbet, who gave it to the State in 1881. The composition, exhibited at the Salon in 1850-1851, was conceived and executed in Ornans. This masterpiece by Courbet is highly important since it depicts a religious rite within the social reality of its time. The figures are portrayed as they celebrate a Christian rite, a funeral, not in the sacredness of a church. In the painting, approximately fifty fellow townspeople are represented, such as the painter
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Sunday Afternoon on La Grande Jatte A Sunday Afternoon on the Grande Jatte
Unknown
Using newly discovered optical and color theories, Seurat rendered his subject by placing tiny, precise brush strokes of different colors close to one another so that they blend at a distance. Art critics subsequently named this technique Divisionism, or Pointillism. The artist visited La Grande Jatte many times, making drawings and more than 30 oil sketches to prepare for the final work. With his precise method and technique, Seurat conceived of his painting as a reform of Impressionism. The precise contours, geometric shapes, and measured proportions and distances in Seurat
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Atala Carried to the Grave (detail) Burial of Atala
Unknown
"Whosoever had not known that this young maiden had once enjoyed the light of day would have taken her for a statue of virginity asleep," wrote Fran
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Atala Carried to the Grave Burial of Atala
Unknown
In this scene, Atala's beloved American Indian lover
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The Death of Sardanapalus (detail)
Unknown
A passionate, anarchical, and emotional painting a riot of excess, eroticism, and sadism. One of the most romantic paintings of the Romantic epoch; when it was first exhibited it produced a frisson of admiration mixed with horror at the barbarism of the image. The painting shows King Sardanapalus whose empire was being ravaged by the Medes, apparently unconcerned that his life, time, and empire have come to a crushing end. It illustrates the legend of King Assyrien who, besieged, had cut the throats of his wives and his horses, before following them in death.
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The Death of Sardanapalus (detail)
Unknown
A passionate, anarchical, and emotional painting a riot of excess, eroticism, and sadism. One of the most romantic paintings of the Romantic epoch; when it was first exhibited it produced a frisson of admiration mixed with horror at the barbarism of the image. The painting shows King Sardanapalus whose empire was being ravaged by the Medes, apparently unconcerned that his life, time, and empire have come to a crushing end. It illustrates the legend of King Assyrien who, besieged, had cut the throats of his wives and his horses, before following them in death.
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The Death of Sardanapalus (detail)
Unknown
A passionate, anarchical, and emotional painting a riot of excess, eroticism, and sadism. One of the most romantic paintings of the Romantic epoch; when it was first exhibited it produced a frisson of admiration mixed with horror at the barbarism of the image. The painting shows King Sardanapalus whose empire was being ravaged by the Medes, apparently unconcerned that his life, time, and empire have come to a crushing end. It illustrates the legend of King Assyrien who, besieged, had cut the throats of his wives and his horses, before following them in death.
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The Death of Sardanapalus Mort de Sardanapale
Unknown
A passionate, anarchical, and emotional painting a riot of excess, eroticism, and sadism. One of the most romantic paintings of the Romantic epoch; when it was first exhibited it produced a frisson of admiration mixed with horror at the barbarism of the image. The painting shows King Sardanapalus whose empire was being ravaged by the Medes, apparently unconcerned that his life, time, and empire have come to a crushing end. It illustrates the legend of King Assyrien who, besieged, had cut the throats of his wives and his horses, before following them in death.
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The Troubador
Unknown
This painting depicts a troubadour, a singing poet associated with medieval French royal courts. From 1800 to 1850, there was a renewed interest in the medieval world, including the "Gothic Troubadour" style, based loosely upon French art and architecture from the Middle Ages. The painting also relates to the revived popularity of the great French Rococo painter Jean-Antoine Watteau (1684-1721). Here Daumier, like Watteau, explored the lost golden age of chivalry and courtly love. The subdued, almost faded colors and the troubadour's mandolin reinforce this poetic, melancholic mood.
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Sancho Panza
Unknown
Daumier's paintings were probably done for the most part fairly late in his career. Although he was accepted four times by the Salon, he never exhibited his paintings otherwise and they remained practically unknown up to the time of an exhibition held at Durand-Ruel's gallery in 1878, the year of his death. The paintings are in the main a documentation of contemporary life and manners with satirical overtones, although he also did a number featuring Don Quixote as a larger-than-life hero. His technique was remarkably broad and free.
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The Funeral at Ornans (detail) A Burial at Ornans
Unknown
The painting belonged to Juliette Courbet, who gave it to the State in 1881. The composition, exhibited at the Salon in 1850-1851, was conceived and executed in Ornans. This masterpiece by Courbet is highly important since it depicts a religious rite within the social reality of its time. The figures are portrayed as they celebrate a Christian rite, a funeral, not in the sacredness of a church. In the painting, approximately fifty fellow townspeople are represented, such as the painter
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The Funeral at Ornans (detail) A Burial at Ornans
Unknown
The painting belonged to Juliette Courbet, who gave it to the State in 1881. The composition, exhibited at the Salon in 1850-1851, was conceived and executed in Ornans. This masterpiece by Courbet is highly important since it depicts a religious rite within the social reality of its time. The figures are portrayed as they celebrate a Christian rite, a funeral, not in the sacredness of a church. In the painting, approximately fifty fellow townspeople are represented, such as the painter
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The Funeral at Ornans A Burial at Ornans
Unknown
The painting belonged to Juliette Courbet, who gave it to the State in 1881. The composition, exhibited at the Salon in 1850-1851, was conceived and executed in Ornans. This masterpiece by Courbet is highly important since it depicts a religious rite within the social reality of its time. The figures are portrayed as they celebrate a Christian rite, a funeral, not in the sacredness of a church. In the painting, approximately fifty fellow townspeople are represented, such as the painter
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The Funeral at Ornans (detail) A Burial at Ornans
Unknown
The painting belonged to Juliette Courbet, who gave it to the State in 1881. The composition, exhibited at the Salon in 1850-1851, was conceived and executed in Ornans. This masterpiece by Courbet is highly important since it depicts a religious rite within the social reality of its time. The figures are portrayed as they celebrate a Christian rite, a funeral, not in the sacredness of a church. In the painting, approximately fifty fellow townspeople are represented, such as the painter
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A Tiger Hunt
Unknown
Baudelaire: "Romanticism is precisely situated neither in choice of subject matter nor in exact truth, but in a way of feeling." The greatest French Romantic painter, whose use of colour was influential in the development of both Impressionist and Post-Impressionist painting. His inspiration came chiefly from historical or contemporary events or literature, and a visit to Morocco in 1832 provided him with further exotic subjects. Among his later easel paintings are ones on Arab, religious, and classical subjects and several superb scenes of wild animals and hunts.
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The Painter's Studio: A Real-Life-Allegory of the Last Seven Years of My Life (detail) The Painter's Studio : A Real Allegory Summarizing My Seven years of Life as an Artist
Unknown
Courbet believed in painting real people at their everyday activities. Here, the subject is his own studio, showing off the new role of the artist in society. On the left are the ordinary models, on the right friends (writers George Sand and Charles Baudelaire are identifiable). Courbet, the artist, takes centre stage in sharp daylight. Vel
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The Painter's Studio: A Real-Life-Allegory of the Last Seven Years of My Life (detail) The Painter's Studio : A Real Allegory Summarizing My Seven years of Life as an Artist
Unknown
Courbet believed in painting real people at their everyday activities. Here, the subject is his own studio, showing off the new role of the artist in society. On the left are the ordinary models, on the right friends (writers George Sand and Charles Baudelaire are identifiable). Courbet, the artist, takes centre stage in sharp daylight. Vel
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The Painter's Studio: A Real-Life-Allegory of the Last Seven Years of My Life (detail) The Painter's Studio : A Real Allegory Summarizing My Seven years of Life as an Artist
Unknown
Courbet believed in painting real people at their everyday activities. Here, the subject is his own studio, showing off the new role of the artist in society. On the left are the ordinary models, on the right friends (writers George Sand and Charles Baudelaire are identifiable). Courbet, the artist, takes centre stage in sharp daylight. Vel
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The Painter's Studio: A Real-Life-Allegory of the Last Seven Years of My Life The Painter's Studio : A Real Allegory Summarizing My Seven years of Life as an Artist
Unknown
Courbet believed in painting real people at their everyday activities. Here, the subject is his own studio, showing off the new role of the artist in society. On the left are the ordinary models, on the right friends (writers George Sand and Charles Baudelaire are identifiable). Courbet, the artist, takes centre stage in sharp daylight. Vel
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The Painter's Studio: A Real-Life-Allegory of the Last Seven Years of My Life The Painter's Studio : A Real Allegory Summarizing My Seven years of Life as an Artist.
Unknown
Courbet believed in painting real people at their everyday activities. Here, the subject is his own studio, showing off the new role of the artist in society. On the left are the ordinary models, on the right friends (writers George Sand and Charles Baudelaire are identifiable). Courbet, the artist, takes centre stage in sharp daylight. Vel
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Napoleon Visiting the Plague-Stricken at Jaffa, 1799
Unknown
Close-up of Napoleon Touching Pest-Stricken
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The Raft of the Medusa (detail)
Unknown
The fourth group consists of three men who mount some barrels at the Raft's forward end and signal to the Argus. It is the most important of the four groups, that gives a culmination to the dramatic narrative and compositional structure of the Medusa. Yet it is the last that he invented. The Nero's powerful torso stands out against the sky high above the horizon, the cloth unfurling in the wind from his uplifted arm and gives the scene a splendid climax.
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Oath of the Horatii (detail)
Unknown
The three brothers, the Horatii, chosen by Rome to defy the champions of the town of Alba called the Curiaces, are taking an oath that they will win or die and are receiving swords from their father. Like Corneille in his tragedy "Horace", David contrasts the stoic resolution of the warriors, underlined by strict geometry and strident colour, with the gentle line of the women which expresses their suffering. Painted in 1784 and shown in Paris the following year, this painting earned David a European reputation as uncontested leader of the Neoclassical movement.
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Oath of the Horatii (detail)
Unknown
The three brothers, the Horatii, chosen by Rome to defy the champions of the town of Alba called the Curiaces, are taking an oath that they will win or die and are receiving swords from their father. Like Corneille in his tragedy "Horace", David contrasts the stoic resolution of the warriors, underlined by strict geometry and strident colour, with the gentle line of the women which expresses their suffering. Painted in 1784 and shown in Paris the following year, this painting earned David a European reputation as uncontested leader of the Neoclassical movement.
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Oath of the Horatii
Unknown
The three brothers, the Horatii, chosen by Rome to defy the champions of the town of Alba called the Curiaces, are taking an oath that they will win or die and are receiving swords from their father. Like Corneille in his tragedy "Horace", David contrasts the stoic resolution of the warriors, underlined by strict geometry and strident colour, with the gentle line of the women which expresses their suffering. Painted in 1784 and shown in Paris the following year, this painting earned David a European reputation as uncontested leader of the Neoclassical movement.
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The Washerwoman
Unknown
That simplicity in which he has painted so many other images and things; as the heavy figure of a washerwoman, the faces of the third-class passengers or the grey profiles of the emigrants. The same perfect painting technique (prodigiously expert sign and fluid consistence of the chromatic material) contribute in expressing the genuine liking and the human friendliness that the Artist feels for his creatures. He represents the poor life of those restless years with political disturbances, with corruption, with social inequities; expressing affectionate and disconsolate pity suggested by his direct participation this world's sorrows.
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Church of La Madeleine (compl. 1842 by Jacques HuvT) (1998)
Unknown
Raking view of South colonnade and stairs
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Church of La Madeleine (compl. 1842 by Jacques HuvT) (1998)
Unknown
Fatade detail with pediment sculpture and entablature
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Church of La Madeleine (compl. 1842 by Jacques HuvT) (1998)
Unknown
Close detail: entablature and column capital at SE corner
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Houses of Parliament (Palace of Westminster)
Unknown
Houses of Parliament, Victoria Tower (compl. 1860), from NNW
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Houses of Parliament (Palace of Westminster)
Unknown
Houses of Parliament from NNW w Westminster Hall (1097 to 15th c), Victoria Tower beyond
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Houses of Parliament (Palace of Westminster)
Unknown
Det: elaborate ornament capping Victoria Tower, from ENE
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Houses of Parliament (Palace of Westminster)
Unknown
Total Thames Fatade fr ENE on Westminster Bridge
