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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A Venetian Procurator Portrait of a Man
Unknown
Carriera was born in Venice, which remained her favorite city despite her occasionl journeys elsewhere. She is of particular art historical importance because she popularized the pastel portrait. Pastels were first used for making copies of oil paintings but by the late 1600's artists began to enjoy the speed and the variety of effects available from thieir use. Pastels were the ideal medium for the Rococo-style portraits that she created for her distinguished patrons. Carriera was primarily known for her ability to flatter sitters while retaining a sense of their individuality. She spent the last decade of her life totally blind.
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Venetian Lady of the Barbarigo Family
Unknown
At first, pastels were reserved for the quick, color sketches for which they were designed. But gradually, because of the speed with which they could be used, they became popular with those lacking the time and patience to sit for an oil portrait. And, being done on paper, not to mention mostly by women, they were no doubt cheaper than oils. But Carriera not only proved the equal to any male portrait painter in Venice, but also proved pastels the equal of oils in their richness, color, and handling. She was accepted as one of the few female members of the Guild of St. Luke (doctors and artists) and later, the French Academy.
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Self-Portrait as Winter
Unknown
Carriera was born in Venice, which remained her favorite city despite her occasionl journeys elsewhere. She is of particular art historical importance because she popularized the pastel portrait. Pastels were first used for making copies of oil painntings but by the late 1600's artists began to enjoy the speed and the variety of effects available from thieir use. Pastels were the ideal medium for the Rococo-style portraits that she created for her distinguished patrons. Carriera was primarily known for her ability to flatter sitters while retaining a sense of their individuality. She spent the last decade of her life totally blind.
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Self-Portrait as Winter (detail)
Unknown
Carriera was born in Venice, which remained her favorite city despite her occasionl journeys elsewhere. She is of particular art historical importance because she popularized the pastel portrait. Pastels were first used for making copies of oil painntings but by the late 1600's artists began to enjoy the speed and the variety of effects available from thieir use. Pastels were the ideal medium for the Rococo-style portraits that she created for her distinguished patrons. Carriera was primarily known for her ability to flatter sitters while retaining a sense of their individuality. She spent the last decade of her life totally blind.
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Elector Clemens August of Cologne
Unknown
Rosalba Carriera was a Venetian woman pastellist who had a great vogue in Venice, chiefly among British tourists, in Paris (1720-21), and Vienna (1730). She painted snuff boxes for the tourist trade with miniatures on ivory, a technique she seems to have pioneered as against the earlier use of card as a ground. She was painting miniatures by 1700, and her earliest pastels are of c. 1703. In 1705 she was made an 'accademico di merito' by the Accademia di San Luca in Rome, a title reserved for non-Roman artists. She achieved immense popularity, and made pastel portraits of notabilities from all over Europe.
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Elector Clemens August of Cologne (detail)
Unknown
Rosalba Carriera was a Venetian woman pastellist who had a great vogue in Venice, chiefly among British tourists, in Paris (1720-21), and Vienna (1730). She painted snuff boxes for the tourist trade with miniatures on ivory, a technique she seems to have pioneered as against the earlier use of card as a ground. She was painting miniatures by 1700, and her earliest pastels are of c. 1703. In 1705 she was made an 'accademico di merito' by the Accademia di San Luca in Rome, a title reserved for non-Roman artists. She achieved immense popularity, and made pastel portraits of notabilities from all over Europe.
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Church of San Girolamo del Rialto
Unknown
Canaletto. took as his specialty the relatively new and rare form of painting, the city view (veduta). His principal patrons were English aristocrats on the Grand Tour, for whom his scenes were souvenirs of the sights of Venice-the Grand Canal, the basin of Saint Mark's, plus innumerable scenes of regattas and water festivals, such as the annual celebration of the Marriage of Venice to the Sea. Canaletto's technique had the traditional Venetian hallmarks of luminous light and glowing color, to which he added a Dutch-influenced attention to clear and accurate detail. His early works often feature dark, saturated colors that depict a moist, palpable atmosphere under a stormy or dark sky.
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View of Dresden from the Right Bank below the Augustus Bridge (detail) View of Dresden with the Hofkirche at Right
Unknown
The complementary views are taken from each bank of the river Elbe to make the most of the city's superb site and to show its elegant Baroque and Rococo architecture to best advantage. So accurately painted are Bellotto's views of Dresden that they have b een used by German authorities to help reconstruct the city's monuments after their destruction during World War II. Bellotto's work is often confounded with those of his celebrated uncle, Canaletto. He imitated his uncle's style and even signed his paintings with the same nickname.
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View of Dresden from the Right Bank below the Augustus Bridge View of Dresden with the Hofkirche at Right
Unknown
The complementary views are taken from each bank of the river Elbe to make the most of the city's superb site and to show its elegant Baroque and Rococo architecture to best advantage. So accurately painted are Bellotto's views of Dresden that they have b een used by German authorities to help reconstruct the city's monuments after their destruction during World War II. Bellotto's work is often confounded with those of his celebrated uncle, Canaletto. He imitated his uncle's style and even signed his paintings with the same nickname.
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Madonna of the People (detail) Virgin of the people
Unknown
Barocci incorporatied the viewer into his circle of foreground figures in the Madonna del Popolo, showing the Virgin Mary presenting the people to Christ. The gestures and poses are elegant and the colors flicker with highlights and shadings. He arranged the figures in bold diagonals, creating a sense of upward motion and spiritual ecstasy. Barocci contrasted the exalted figures of Mary and Jesus with images of humble, everyday people, such as a beggar and a musician. Barocci drew studies for this and other paintings using sticks of dry color called pastels; he was one of the first artists to use this new medium. The composition's emotional draw had a strong impact on Annibale and Lodovico Carracci and many younger painters.
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Madonna of the People (detail) Virgin of the people
Unknown
The fact that he was not in the centre of the cultural world did not stop Barocci from wielding decisive influence, thanks also to the way that he stuck exactly to the Counter-Reformation's tenets on religious art drawn up at the Council of Trent. His compositions had a simple and direct fluidity and included touching details from everyday life. This did not, however, stop him from attempting more ambitious compositions from time to time, such as The Madonna del Popolo (The Virgin of the People) .
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Madonna of the People (detail) Virgin of the people
Unknown
The fact that he was not in the centre of the cultural world did not stop Barocci from wielding decisive influence, thanks also to the way that he stuck exactly to the Counter-Reformation's tenets on religious art drawn up at the Council of Trent. His compositions had a simple and direct fluidity and included touching details from everyday life. This did not, however, stop him from attempting more ambitious compositions from time to time, such as The Madonna del Popolo (The Virgin of the People) .
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The Triumph of Divine Providence (detail)
Unknown
The orderly clarity of Annibale Carracci's frescos in Palazzo Farnese was replaced by a turbulent composition that was full of spiraling movement. Everything combines to underline the vibrant dynamism of the work. The large scudding clouds and the perspective viewpoints looking up from below were probably inspired by Correggio's examples. But the brand new ingredient was Pietro da Cortona's desire to turn the fresco into a total work of art. The spectator was intended to lose his perception of space when he looked at it and become caught up in a spiritual and esthetic ecstasy. In this scene the triumphs of the Barberini dynasty are nearly as apparent as those of Divine Providence.
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The Triumph of Divine Providence (detail)
Unknown
Everything combines to underline the vibrant dynamism of the work. The large scudding clouds and the perspective viewpoints looking up from below were probably inspired by Correggio's examples. But the brand new ingredient was Pietro da Cortona's desire to turn the fresco into a total work of art. The spectator was intended to lose his perception of space when he looked at it and become caught up in a spiritual and esthetic ecstasy. Another hallmark of Baroque was the happy way it mixed different subjects. In this scene, officially on a religious theme, the triumphs of the Barberini dynasty are nearly as apparent as those of Divine Providence as can be seen from the way their heraldic device of flying bees dominates the scene
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The Triumph of Divine Providence (detail)
Unknown
In 1625 the Barberini family purchased the Palazzo Sforza and other properties in the area which was to be incorporated to the Barberini palace we see today in Rome. Upon the death of Carlo Maderno, the first architect of the project, Gian Lorenzo Bernini succeeded as chief architect in 1629. Bernini's is the conception of the high central "salone', which extends through two stories of the palace. The salone culminates in the great vault on which Piero da Cortona frescoed his Divine Providence, a pictorial celebration of the spiritual and temporal glories of the Barberini.
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The Triumph of Divine Providence (detail)
Unknown
In 1625 the Barberini family purchased the Palazzo Sforza and other properties in the area which was to be incorporated to the Barberini palace we see today in Rome. Upon the death of Carlo Maderno, the first architect of the project, Gian Lorenzo Bernini succeeded as chief architect in 1629. Bernini's is the conception of the high central "salone', which extends through two stories of the palace. The salone culminates in the great vault on which Piero da Cortona frescoed his Divine Providence, a pictorial celebration of the spiritual and temporal glories of the Barberini.
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The Triumph of Divine Providence (detail)
Unknown
In 1625 the Barberini family purchased the Palazzo Sforza and other properties in the area which was to be incorporated to the Barberini palace we see today in Rome. Upon the death of Carlo Maderno, the first architect of the project, Gian Lorenzo Bernini succeeded as chief architect in 1629. Bernini's is the conception of the high central "salone', which extends through two stories of the palace. The salone culminates in the great vault on which Piero da Cortona frescoed his Divine Providence, a pictorial celebration of the spiritual and temporal glories of the Barberini.
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Flight into Egypt (detail)
Unknown
Every landscape element is classically balanced and perfectly integrated with the learned citing of ancient buildings, working together to create the so-called
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Flight into Egypt (detail)
Unknown
The "classical," composed, measured and ideal landscape of the Flight into Egypt, one of the works that set the ground rules for seventeenth-century painting. The restful setting, the gently undulating planes that extend to the distant horizon, and even the boat - a symbol of life - floating on a peaceful river in the foreground create a most unusual atmosphere, based on the effect of repetition. This motif of the "already seen" and known, a constant feature of Italian landscape painting,
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Flight into Egypt (detail)
Unknown
Every landscape element is classically balanced and perfectly integrated with the learned citing of ancient buildings, working together to create the so-called
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Flight into Egypt
Unknown
The picture belongs to a cycle of lunettes with landscapes and a religious theme. This cycle constitutes a milestone in the reconstruction of the painting of landscapes in seventeenth-century Rome. The teaching of Annibale was to remain an indispensable
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Flight into Egypt (detail)
Unknown
Every landscape element is classically balanced and perfectly integrated with the learned citing of ancient buildings, working together to create the so-called
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The Triumph of Divine Providence (detail)
Unknown
The orderly clarity of Annibale Carracci's frescos in Palazzo Farnese was replaced by a turbulent composition that was full of spiraling movement. Everything combines to underline the vibrant dynamism of the work. The large scudding clouds and the perspective viewpoints looking up from below were probably inspired by Correggio's examples. But the brand new ingredient was Pietro da Cortona's desire to turn the fresco into a total work of art. The spectator was intended to lose his perception of space when he looked at it and become caught up in a spiritual and esthetic ecstasy. In this scene the triumphs of the Barberini dynasty are nearly as apparent as those of Divine Providence.
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The Triumph of Divine Providence (detail)
Unknown
Everything combines to underline the vibrant dynamism of the work. The large scudding clouds and the perspective viewpoints looking up from below were probably inspired by Correggio's examples. But the brand new ingredient was Pietro da Cortona's desire to turn the fresco into a total work of art. The spectator was intended to lose his perception of space when he looked at it and become caught up in a spiritual and esthetic ecstasy. Another hallmark of Baroque was the happy way it mixed different subjects. In this scene, officially on a religious theme, the triumphs of the Barberini dynasty are nearly as apparent as those of Divine Providence as can be seen from the way their heraldic device of flying bees dominates the scene
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The Triumph of Divine Providence (detail)
Unknown
In 1625 the Barberini family purchased the Palazzo Sforza and other properties in the area which was to be incorporated to the Barberini palace we see today in Rome. Upon the death of Carlo Maderno, the first architect of the project, Gian Lorenzo Bernini succeeded as chief architect in 1629. Bernini's is the conception of the high central "salone', which extends through two stories of the palace. The salone culminates in the great vault on which Piero da Cortona frescoed his Divine Providence, a pictorial celebration of the spiritual and temporal glories of the Barberini.
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The Triumph of Divine Providence (detail)
Unknown
In 1625 the Barberini family purchased the Palazzo Sforza and other properties in the area which was to be incorporated to the Barberini palace we see today in Rome. Upon the death of Carlo Maderno, the first architect of the project, Gian Lorenzo Bernini succeeded as chief architect in 1629. Bernini's is the conception of the high central "salone', which extends through two stories of the palace. The salone culminates in the great vault on which Piero da Cortona frescoed his Divine Providence, a pictorial celebration of the spiritual and temporal glories of the Barberini.
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The Triumph of Divine Providence (detail)
Unknown
Everything combines to underline the vibrant dynamism of the work. The large scudding clouds and the perspective viewpoints looking up from below were probably inspired by Correggio's examples. But the brand new ingredient was Pietro da Cortona's desire to turn the fresco into a total work of art. The spectator was intended to lose his perception of space when he looked at it and become caught up in a spiritual and esthetic ecstasy. Another hallmark of Baroque was the happy way it mixed different subjects. In this scene, officially on a religious theme, the triumphs of the Barberini dynasty are nearly as apparent as those of Divine Providence as can be seen from the way their heraldic device of flying bees dominates the scene.
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The Triumph of Divine Providence (detail)
Unknown
In 1625 the Barberini family purchased the Palazzo Sforza and other properties in the area which was to be incorporated to the Barberini palace we see today in Rome. Upon the death of Carlo Maderno, the first architect of the project, Gian Lorenzo Bernini succeeded as chief architect in 1629. Bernini's is the conception of the high central "salone', which extends through two stories of the palace. The salone culminates in the great vault on which Piero da Cortona frescoed his Divine Providence, a pictorial celebration of the spiritual and temporal glories of the Barberini.
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The Triumph of Divine Providence (detail)
Unknown
In 1625 the Barberini family purchased the Palazzo Sforza and other properties in the area which was to be incorporated to the Barberini palace we see today in Rome. Upon the death of Carlo Maderno, the first architect of the project, Gian Lorenzo Bernini succeeded as chief architect in 1629. Bernini's is the conception of the high central "salone', which extends through two stories of the palace. The salone culminates in the great vault on which Piero da Cortona frescoed his Divine Providence, a pictorial celebration of the spiritual and temporal glories of the Barberini.
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The Triumph of Divine Providence (detail)
Unknown
The orderly clarity of Annibale Carracci's frescos in Palazzo Farnese was replaced by a turbulent composition that was full of spiraling movement. Everything combines to underline the vibrant dynamism of the work. The large scudding clouds and the perspective viewpoints looking up from below were probably inspired by Correggio's examples. But the brand new ingredient was Pietro da Cortona's desire to turn the fresco into a total work of art. The spectator was intended to lose his perception of space when he looked at it and become caught up in a spiritual and esthetic ecstasy. In this scene the triumphs of the Barberini dynasty are nearly as apparent as those of Divine Providence.
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The Triumph of Divine Providence
Unknown
In 1625 the Barberini family purchased the Palazzo Sforza and other properties in the area which was to be incorporated to the Barberini palace we see today in Rome. Upon the death of Carlo Maderno, the first architect of the project, Gian Lorenzo Bernini succeeded as chief architect in 1629. Bernini's is the conception of the high central "salone', which extends through two stories of the palace. The salone culminates in the great vault on which Piero da Cortona frescoed his Divine Providence, a pictorial celebration of the spiritual and temporal glories of the Barberini.
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The Baldacchino. Rome, St. Peter's
Unknown
Base of SW column, N side with medallion of Pope Urban VIII
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The Baldacchino. Rome, St. Peter's
Unknown
Base of SW column, W side, detail of rosary (as if forgotten by a pilgrim)
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The Baldacchino. Rome, St. Peter's
Unknown
Base of SE column, S side, lowest third of Solomonic Column
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The Baldacchino. Rome, St. Peter's
Unknown
Base of SE column, W side, with a fly (facing papal altar)
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The Baldacchino. Rome, St. Peter's
Unknown
Base of SE column, W side with wedges for plumbing the column
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The Baldacchino. Rome, St. Peter's
Unknown
Base of SE column, N side with wedges in place for plumbing the column
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The Baldacchino. Rome, St. Peter's
Unknown
Base of NW column, N side with acanthus leaves, bees and suns
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The Baldacchino. Rome, St. Peter's
Unknown
Close detail of putti holding tiara atop Baldacchino, from niche of St. Helen
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The Baldacchino. Rome, St. Peter's
Unknown
View of angel from atop Baldacchino, from niche of St. Helen
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The Baldacchino. Rome, St. Peter's
Unknown
Detail of top section of column from Niche of St. Helen: laurel, putti
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The Baldacchino. Rome, St. Peter's
Unknown
Colossal Angels and Volutes atop Baldacchino, from straight on
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The Baldacchino. Rome, St. Peter's
Unknown
View into the Apse from the crossing from Niche of St. Andrew, during papal mass
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The Baldacchino. Rome, St. Peter's
Unknown
Overall view of Baldacchino and Apse from niche of St. Andrew, during papal mass
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The Baldacchino. Rome, St. Peter's
Unknown
SE corner of Baldacchino, with Cathedra behind, Pope saying mass
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The Baldacchino. Rome, St. Peter's
Unknown
SE and SW columns enframing upper and lower niches of St. Veronica
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The Baldacchino. Rome, St. Peter's
Unknown
Diagonal view upward of E side of superstructure, seen from apse
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The Baldacchino. Rome, St. Peter's
Unknown
NW and NE columns of Baldacchino upper section. view W from crossing
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The Baldacchino. Rome, St. Peter's
Unknown
Detail view of SE corner of superstructure, entablature block, angel, scroll, seen from below left
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The Baldacchino. Rome, St. Peter's
Unknown
SE and SW columns of Baldacchino enframing upper and lower niches of St. Andre
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The Baldacchino. Rome, St. Peter's
Unknown
Detail view upward of SE corner of superstructure: entablature block, bronze angel, bottom of scroll, from below right
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The Baldacchino. Rome, St. Peter's
Unknown
Detail view upward of E side of superstructure: Putti w tiara & entablature hangings, seen from crossing
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The Baldacchino. Rome, St. Peter's
Unknown
Detail of column's central section, w laurel leaves & putti chasing bees
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The Baldacchino. Rome, St. Peter's
Unknown
Detail of NE column capital, upper column section, dove of Holy Spirit
