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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Foundling Hospital (Ospedale degli Innocenti)
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Raking view of colonnade of loggia, looking twd Via Gino Capponi
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Franklin Delano Roosevelt Memorial
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Second Room: general view from reliefs of social programs twd fountain representing TN Valley Program
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Franklin Delano Roosevelt Memorial
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Third Room: general view of Third Room, with strewn rocks symbolizing chaos of war
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Franklin Delano Roosevelt Memorial
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First Room: First Term: detail of relief of First Inauguration Parade, by Robert Graham
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Franklin Delano Roosevelt Memorial
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Second Room: total view of square reliefs depicting social programs, by Robert Graham
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Franklin Delano Roosevelt Memorial
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Second Room: close view of man listening to Fireside Chats
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Franklin Delano Roosevelt Memorial
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Third Room: close view of Scottish terrier, Fala, by Neil Estern
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Franklin Delano Roosevelt Memorial
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Second Room: total view of man listening to the Fireside Chats on the radio, by George Segal
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Franklin Delano Roosevelt Memorial
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Third Room: total of colossal statue of FDR from left front w. tourist for scale, by Neil Estern
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Franklin Delano Roosevelt Memorial
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Third Room: closer view of the colossal FDR, Fala, and inscription, by Neil Estern
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Franklin Delano Roosevelt Memorial
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First Room: First Term: relief of First Inauguration Parade, by Robert Graham
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Franklin Delano Roosevelt Memorial
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First Room: First Term: "I plegde you, I pledge myself..."
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Franklin Delano Roosevelt Memorial
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Second Room: detail of four men in hats in urban breadline, by George Segal
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Franklin Delano Roosevelt Memorial
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Second Room: overall view from SW of sculpture depicting social programs of the New Deal, by Robert Graham
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Franklin Delano Roosevelt Memorial
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Second Room: "I propose to create..." with fountain of TN Valley Program
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Franklin Delano Roosevelt Memorial
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Second Room: late afternoon view S: transition between Rooms Two and Three
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Franklin Delano Roosevelt Memorial
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Second Room: "We must scrupulously guard the civil rights..."
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Franklin Delano Roosevelt Memorial
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Third Room: "I have seen war. I have seen war on land and sea..."
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Franklin Delano Roosevelt Memorial
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Second Room: closer view of social programs of the New Deal, by Robert Graham
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Franklin Delano Roosevelt Memorial
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Second Room: raking view of Apalachian farmer, his wife and urban breadline, by George Segal
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Franklin Delano Roosevelt Memorial
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Fourth Room: "Unless the peace that follows recognizes..."
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Franklin Delano Roosevelt Memorial
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Fourth Room: close det of relief: mourners following coffin
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Franklin Delano Roosevelt Memorial
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Fourth Room: view toward inscription and statue of Eleanor Roosevelt, by Neil Estern, with fountain in background
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Franklin Delano Roosevelt Memorial
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Second Room: total view of Apalachian farmer and his wife, by George Segal
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Franklin Delano Roosevelt Memorial
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Second Room: close view of Apalachian farmer and his wife
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Franklin Delano Roosevelt Memorial
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Third Room: The Second World War: "We must be the great arsenal of Democracy."
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Franklin Delano Roosevelt Memorial
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Third Room: inscription and half-length detail of FDR from front right
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Franklin Delano Roosevelt Memorial
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FDR Watercolor by Phil Thys. Photo: courtesy of National Park Service. Nat. Capital Region and Parks & History Assoc. Photographer: Nat. Park Service
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Franklin Delano Roosevelt Memorial
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Fourth Room: closer view from N of fountain of hope and faith in the future
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Franklin Delano Roosevelt Memorial
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Fourth Room: view SW from the "strong-and-active-faith" inscription twd the fountain of hope and faith in the future
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Franklin Delano Roosevelt Memorial
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Fourth Room: total view of statue of Eleanor Roosevelt, by Neil Estern
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Franklin Delano Roosevelt Memorial
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Third Room: closer view of fountain and rocks symbolizing chaos of war
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Franklin Delano Roosevelt Memorial
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Fourth Room: general view of the fourth room, with stairs and fountain
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Franklin Delano Roosevelt Memorial
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Third Room: total of colossal statue of FDR with his dog, Fala. Sculpture, by Neil Estern
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Franklin Delano Roosevelt Memorial
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Second Room: total view of urban breadline, by George Segal
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Franklin Delano Roosevelt Memorial
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Second Room: close detail of man in cap in urban breadline, by George Segal
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Franklin Delano Roosevelt Memorial
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Second Room: total view from front of Apalachian farme, his wife and urban breadline, by George Segal
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Franklin Delano Roosevelt Memorial
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Third Room: closer view of fountain and rocks and the "I-hate-war!" quotation
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Franklin Delano Roosevelt Memorial
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Fourth Room: Honoring the Life and Legacy of FDR: the death of FDR in 1945. Relief funeral cortege, by Leonard Baskin
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Franklin Delano Roosevelt Memorial
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Fourth Room: "The only limit to our realization of tomorrow..."
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Franklin Delano Roosevelt Memorial
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Fourth Room: general view from the N in late afternoon of fountain of hope and faith in the future
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Franklin Delano Roosevelt Memorial
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Fourth Room: view of the W portion, from NE in the morning of fountain of hope and faith in the future
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Franklin Delano Roosevelt Memorial
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Second Room: morning view S: transition between Rooms Two and Three
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Franklin Delano Roosevelt Memorial
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Fourth Room: total view of Baskin's relief, with reflection in water
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Frieze of Dancers
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The splashes of green paint-strangely placed over the figures well after the artist had finished the canvas-evoke shadows and highlight the ballerina's red hair. In contrast to the immobility of the sculptural frieze, the green in the painting creates a sense of hypnotic movement through the vibrant, diverse colors. .The young woman is placed in an undefined setting, surrounded by mere wisps of color, applied so spontaneously that the paint ran and dripped. Degas even added the circles in the foreground with his thumb. Such audacity, while acceptable in a small sketch, must have shocked the artist's contemporaries when presented on a six-foot canvas. Equally radical is the idea of combining multiple views of a single figure.
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Frieze of Dancers (detail)
Unknown
The splashes of green paint-strangely placed over the figures well after the artist had finished the canvas-evoke shadows and highlight the ballerina's red hair. In contrast to the immobility of the sculptural frieze, the green in the painting creates a sense of hypnotic movement through the vibrant, diverse colors. .The young woman is placed in an undefined setting, surrounded by mere wisps of color, applied so spontaneously that the paint ran and dripped. Degas even added the circles in the foreground with his thumb. Such audacity, while acceptable in a small sketch, must have shocked the artist's contemporaries when presented on a six-foot canvas. Equally radical is the idea of combining multiple views of a single figure.
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Frieze of Dancers (detail)
Unknown
The splashes of green paint-strangely placed over the figures well after the artist had finished the canvas-evoke shadows and highlight the ballerina's red hair. In contrast to the immobility of the sculptural frieze, the green in the painting creates a sense of hypnotic movement through the vibrant, diverse colors. .The young woman is placed in an undefined setting, surrounded by mere wisps of color, applied so spontaneously that the paint ran and dripped. Degas even added the circles in the foreground with his thumb. Such audacity, while acceptable in a small sketch, must have shocked the artist's contemporaries when presented on a six-foot canvas. Equally radical is the idea of combining multiple views of a single figure.
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Gallic Chieftain Killing Himself and his Wife. Roman Copy after bronze original from Pergamon
Unknown
Total from left front
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Gallic Chieftain Killing Himself and his Wife. Roman Copy after bronze original from Pergamon
Unknown
Det: head and should of the Gaul from left rear
