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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Female Nudes Bathing
Unknown
Southern France offered Renoir scenes bursting with color and sensuality. At the same time, the seemingly joyous spontaneity of nature gave him the desire to depart from his newfound adherence to the dictates of classicism. While in southern France, he recovered the instinctive freshness of his art; he painted women at their bath with the same healthful bloom he would give to bouquets of flowers.
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Female Nudes Bathing (detail)
Unknown
Southern France offered Renoir scenes bursting with color and sensuality. At the same time, the seemingly joyous spontaneity of nature gave him the desire to depart from his newfound adherence to the dictates of classicism. While in southern France, he recovered the instinctive freshness of his art; he painted women at their bath with the same healthful bloom he would give to bouquets of flowers.
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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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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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Flowers Amidst Greenery
Unknown
"Art is jealous, she doesn't like taking second place an indisposition. Hence I shall humor her.
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Forum Romanum
Unknown
Overall view looking N toward Curia, Basilica Aemelia, and Temple of Antonio and Faustina from Palatine Hill
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Forum Romanum
Unknown
Overall view looking W toward Temple of Antoninus and Faustina and Church of S. Francesca Romana
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Forum Romanum
Unknown
Overall view looking southeast toward Palatine Hill from Church of SS. Martina e Luca
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Forum Romanum
Unknown
Overall view looking E toward Rostrum and S. Maria Nova w. Temple of Vesta and Palatine substructures
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Forum Romanum
Unknown
Overall view looking northeast toward Basilica of Constantine from atop Palatine Hill
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Foundling Hospital (Ospedale degli Innocenti)
Unknown
Raking view of colonnade of loggia, looking toward Via Gino Capponi
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Frieze of Dancers
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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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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Funerary Stele of a Family Farewell Scene with a Dexiosis Handshake
Unknown
Full length, frontal center view
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Funerary Stele of a Family Farewell Scene with a Dexiosis Handshake, Detail
Unknown
Center detail of figures and handshake
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Funerary Stele of a Young Man and His Youthful Servant, Detail of Young Man
Unknown
Detail of young man
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Gallic Chieftain Killing Himself and his Wife. Roman Copy after bronze original from Pergamon
Unknown
Detail of the dead wife
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Gallic Chieftain Killing Himself and his Wife. Roman Copy after bronze original from Pergamon
Unknown
Upper two thirds of the Gaul and his dead wife from front right
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Gallic Chieftain Killing Himself and his Wife. Roman Copy after bronze original from Pergamon
Unknown
Total from the front
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Gallic Chieftain Killing Himself and his Wife. Roman Copy after bronze original from Pergamon
Unknown
head and should of the Gaul from left rear
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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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Garden of Earthly Delights : Hell (right wing) (detail) Garden of Delights : Hell
Unknown
The torments of hell, a dark, icy, yet fiery nightmarish vision, on the right. At the time of his death, Bosch was internationally celebrated as an eccentric painter of religious visions who dealt in particular with the torments of hell. During his lifetime Bosch's works were in the inventories of noble families of the Netherlands, Austria, and Spain, and they were imitated in a number of paintings and prints throughout the 16th century, especially in the works of Pieter Bruegel the Elder.
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Garden of Earthly Delights : Hell (right wing) (detail) Garden of Delights : Hell
Unknown
Several huge musical instruments figure prominently in Bosch's conception of hell. Their relationship to each other bears strongly fanciful elements, and they have been adapted in form. What is more, the use of these instruments is wholly fantastic. There is a human figure stretched across the strings of a harp; another writhes around the neck of a flute, intertwined with a snake; a third peers out of a drum equipped with bird-like feet, the next one plays triangle while reaching out from a hurdy-gurdy, and even the smoking trumpet displays an outstretched human arm.
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Garden of Earthly Delights : Hell (right wing) (detail) Garden of Delights : Hell
Unknown
The torments of hell, a dark, icy, yet fiery nightmarish vision, on the right. At the time of his death, Bosch was internationally celebrated as an eccentric painter of religious visions who dealt in particular with the torments of hell. During his lifetime Bosch's works were in the inventories of noble families of the Netherlands, Austria, and Spain, and they were imitated in a number of paintings and prints throughout the 16th century, especially in the works of Pieter Bruegel the Elder.
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Garden of Earthly Delights : Hell (right wing) Garden of Delights : Hell
Unknown
The right wing of the triptych represents the Hell. At the time of his death, Bosch was internationally celebrated as an eccentric painter of religious visions who dealt in particular with the torments of hell. During his lifetime Bosch's works were in the inventories of noble families of the Netherlands, Austria, and Spain, and they were imitated in a number of paintings and prints throughout the 16th century, especially in the works of Pieter Bruegel the Elder.
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Garden of Loves (detail) Worship of Venus
Unknown
This canvas was painted by Titian for Alfonso del Este Duke of Ferrara. It was intended to decorate the Duke
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Garden of the Hospital at Saint-R
Unknown
This painting is a view of the garden at the hospital in Saint-R
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Garden of the Hospital at Saint-R
Unknown
This painting is a view of the garden at the hospital in Saint-R
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Gardenscape. Second Style wall painting from the Villa of Livia, Primaporta
Unknown
Overall view with tree in center
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Gardenscape. Second Style wall painting from the Villa of Livia, Primaporta
Unknown
Close detail with bird amonst greenery
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Gardenscape. Second Style wall painting from the Villa of Livia, Primaporta
Unknown
Detail: orange trees
