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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The Baldacchino. Rome, St. Peter's
Unknown
Detail of SW (?) column capital and top third of column, seen from below
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Church of S. Ivo della Sapienza
Unknown
View of S. Ivo, seen from courtyard of the Sapienza (della Porta) (1999)
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San Carlo alle Quattro Fontane
Unknown
Upper Fatade, 1675-77, by the architect's nephew, Bernardo Borromini
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San Carlo alle Quattro Fontane
Unknown
Upper half of lower register: undulating entablature and statue of St. Charles Borromeo
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Saint Peter's Basilica, Facade
Unknown
Overall View w. enframing Colonnade, Obelisk and Michelangelo's Dome (1999, cleaned and restored)
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Church of San Vitale
Unknown
Baroque Portal to the S. Vitale complex, 1622, Pope Gregory XV. "Divo Vitalima Tire", general view fr S
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The Little Children Being Brought to Jesus ("The 100 Guilder Print") Christ with the Sick around Him, Receiving the Children
Unknown
In addition to Rembrandt's artistic achievements in painting, his development as a printmaker firmly places him within the realm of history's greatest artists. He addressed many different subjects in his etchings and drypoints, including religious ones. This interest is evident in possibly the most successful print of his career, Christ with the Sick around Him, Receiving the Children or the Hundred Guilder Print. As a printmaker, Rembrandt's unchallenged abilities are well accepted and were widely known during his lifetime. For example, Christ with the Sick... gained the subtitle the Hundred Guilder Print in 1649 because the etching was purchased by a Roman print dealer for that price, the equivalent of 150 gold pieces.
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Lady Washing Her Hands (detail) Woman Washing Hands
Unknown
At Deventer, Ter Borch developed an independent form of genre which in the meticulousness of its execution seems to be close to the Leiden variant. In connection with his remarkable talent for sensitive rendering of the texture of different fabrics, which in all of his mature paintings constitutes a major pictorial motive, Ter Borch showed a preference for subjects associated with Vanity or Luxury. This preference must have a partially aesthetic background, for these subjects allowed him to paint elegant interiors and richly dressed ladies, as in this picture.
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Lady Washing Her Hands Woman Washing Hands
Unknown
At Deventer, Ter Borch developed an independent form of genre which in the meticulousness of its execution seems to be close to the Leiden variant. In connection with his remarkable talent for sensitive rendering of the texture of different fabrics, which in all of his mature paintings constitutes a major pictorial motive, Ter Borch showed a preference for subjects associated with Vanity or Luxury. This preference must have a partially aesthetic background, for these subjects allowed him to paint elegant interiors and richly dressed ladies, as in this picture.
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Officer Reading a Letter
Unknown
One of the greatest Dutch masters of the Golden Age, Gerard ter Borch, is the artist who first popularized the letter theme. His painting of '' Officer Reading a Letter" is considered the "perfect embodiment of this elegant new treatment of the letter theme."
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Dutch Landscape Viewed from the Dunes (detail)
Unknown
Koninck's development had stopped in the middle of the seventeenth century, he would be remembered as a talented Rembrandt follower. But from about 1649-50 until around 1665 he created a series of very large panoramic views in a distinctive personal style. They are closely related to the classical phase of Dutch landscape painting and are amongst the great glories of Dutch art.
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Dutch Landscape Viewed from the Dunes
Unknown
Koninck's development had stopped in the middle of the seventeenth century, he would be remembered as a talented Rembrandt follower. But from about 1649-50 until around 1665 he created a series of very large panoramic views in a distinctive personal style. They are closely related to the classical phase of Dutch landscape painting and are amongst the great glories of Dutch art.
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Jacob's Dream of the Heavenly Ladder (detail)
Unknown
Dutch biblical, genre, and portrait painter, a gifted and favourite pupil of Rembrandt (1635-40), to whom he remained a close friend. His usual style is based so closely on that of his master that many of his pictures have passed as works of Rembrandt himself. Eeckhout was one of the most successful of this school in adopting the broader and bolder technique of Rembrandt's mature style, though he seldom approached the master in humanity or depth of feeling.In surprising contrast to his normal Rembrandtesque style are a number of highly finished genre subjects--guardroom scenes, backgammon players, and so on.
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Jacob's Dream of the Heavenly Ladder (detail)
Unknown
Dutch biblical, genre, and portrait painter, a gifted and favourite pupil of Rembrandt (1635-40), to whom he remained a close friend. His usual style is based so closely on that of his master that many of his pictures have passed as works of Rembrandt himself. Eeckhout was one of the most successful of this school in adopting the broader and bolder technique of Rembrandt's mature style, though he seldom approached the master in humanity or depth of feeling.In surprising contrast to his normal Rembrandtesque style are a number of highly finished genre subjects--guardroom scenes, backgammon players, and so on.
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Breakfast Still Life with Blackberry Pie (detail)
Unknown
The aesthetically conservative principle of tables arranged strictly parallel to the horizontal edges of the painting was followed by Nicolaes Gillis and Floris Claesz van Dijck. (Predecessors were probably family paintings such as Marten van Heemskerck's.) Their still-lifes are classified as 'ontbijtjes' (breakfast still-lifes). Onbijt(je) was a light meal which could be taken at any time of the day.
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Jacob's Dream of the Heavenly Ladder
Unknown
Dutch biblical, genre, and portrait painter, a gifted and favourite pupil of Rembrandt (1635-40), to whom he remained a close friend. His usual style is based so closely on that of his master that many of his pictures have passed as works of Rembrandt himself. Eeckhout was one of the most successful of this school in adopting the broader and bolder technique of Rembrandt's mature style, though he seldom approached the master in humanity or depth of feeling.In surprising contrast to his normal Rembrandtesque style are a number of highly finished genre subjects--guardroom scenes, backgammon players, and so on.
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Breakfast Still Life with Blackberry Pie (detail)
Unknown
A relatively high viewpoint was chosen, apparently to afford a good overall survey of the objects, which are arranged side by side, hardly ever touching or overlapping.
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Breakfast Still Life with Blackberry Pie
Unknown
In the early 1630s Heda began to use the compositional structures. He placed the white tablecloth on the left or right-hand edge of the table, so that the middle of the table is not covered and is no longer symmetric. In subsequent 'banketjes' (banquet pieces), the tablecloth was pushed further and further aside - as early as 1638 in Heda's paintings - until it was actually crumpled. Whereas for quite some time food was shown as almost untouchable, precious and just for display, increasing traces of consumption are now visible. The objects were no longer merely intended to embody status-defining values, but became evidence of spontaneous acts which disrupted the festive structures of the framework.
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Portrait of a Man in the Hat Decorated with Pearls A Man with Pearls on His Hat
Unknown
Rembrandt 1660-1663: After Rembrandt
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Portrait of a Man in the Hat Decorated with Pearls A Man with Pearls on His Hat
Unknown
Rembrandt 1660-1663: After Rembrandt
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Still Life with Bird's Nest
Unknown
Lower left: peaches, plums, raspberries, mouse, grasshopper, crab, lizard
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Esther and Mordecai (detail)
Unknown
Aert de Gelder was one of Rembrandt's last pupils and continued to work in the spirit and style of his master long after other pupils, for instance, Maes, Gerbrand van den Eeckhout and Jan Lievens, had succumbed to the fashionable trend towards smooth and perfunctory painting. Like his master, he loved rich properties and colourful draperies, his studio was a veritable gallery of antiques, full of ancient weapons, silks and all kinds of utensils, and he used manikins for the sake of greater authenticity, carefully dressing them to suit the requirements of his theme. He painted with broad strokes of the brush, as Rembrandt had, and created warm tonalities and colour harmonies.
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Esther and Mordecai (detail)
Unknown
Esther and Mordecai, is one of de Gelder's most valuable and characteristic works. The Old Testament book of Esther is summarized here into a single dramatic moment, the internal tension being conveyed through the structure of the composition and through the gestures. The painting depicts the scene of the Biblical story when Mordecai, foster-father of Esther persuades the Queen to induce her husband to save the Jewish people. De Gelder painted several versions of this subject differing in various degrees; the version now in the Providence Museum of Art, Rhode Island, also depicting half-length figures, is particularly close to the painting in Budapest.
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Esther and Mordecai
Unknown
Aert de Gelder was one of Rembrandt's last pupils and continued to work in the spirit and style of his master long after other pupils, for instance, Maes, Gerbrand van den Eeckhout and Jan Lievens, had succumbed to the fashionable trend towards smooth and perfunctory painting. Like his master, he loved rich properties and colourful draperies, his studio was a veritable gallery of antiques, full of ancient weapons, silks and all kinds of utensils, and he used manikins for the sake of greater authenticity, carefully dressing them to suit the requirements of his theme. He painted with broad strokes of the brush, as Rembrandt had, and created warm tonalities and colour harmonies.
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Violinist at the Window (detail) Self-Portrait
Unknown
Dou popularized the the compositional device of a figure engaged at some occupation at a window. Created with characteristic attention to detail and interest in illusion, these small, and refined images incorporate symbolic elements reflecting the complexity of life's moral and ethical dilemmas. They reflect a level of craftsmanship that was the measure against which many of Dou's contemporaries were judged.Dou was Rembrandt's first student and was later founder of the school of "fijnschilders" or "fine painters" in Leiden.
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Violinist at the Window Self-Portrait
Unknown
Dou popularized the the compositional device of a figure engaged at some occupation at a window. Created with characteristic attention to detail and interest in illusion, these small, and refined images incorporate symbolic elements reflecting the complexity of life's moral and ethical dilemmas. They reflect a level of craftsmanship that was the measure against which many of Dou's contemporaries were judged. Dou was Rembrandt's first student and was later founder of the school of "fijnschilders" or "fine painters" in Leiden.
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Unpleasant Paternal Duties (detail) Unpleasant Duties of a Father
Unknown
Adriaen Brouwer specialised in depicting characters on the edge of society. Their behaviour was looked down on by the members of bourgeois society who saw in it the confirmation of their own moral superiority. During his brief career Brouwer produced only a few dozen works, but revolutionised genre painting with his original synthesis between village scenes with a Bruegelian inspiration and Haarlem genre painting. His great pictorial mastery aroused the admiration of his peers, and painters and collectors like Rubens and Rembrandt owned several of his pictures.
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Calling of St. Matthew
Unknown
Terbrugghen was the most important member of the Dutch Utrecht school. He spent ten years in Italy as a young man and he probably met there Caravaggio who exerted a great influence on him. His extant works were executed in Utrecht after returning from Italy. Sometimes he repeated the subjects of Caravaggio, like in the Calling of St. Matthew. Terbrugghen's debt to Caravaggio is seen most clearly in the manner of illumination. The light enters in a broad beam, and as usual in Terbrugghen's work, from the left. However, the quality of the light is original; it is lighter, richer, and more atmospheric than Caravaggio's, which seldom has the brightness or softness of real daylight.
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Calling of St. Matthew (detail)
Unknown
The life-size figures are half-length instead of full-length, and where the drama of Christ calling the tax-collector to his vocation echoes in the shadows above the figures, has been eliminated. Christ and his follower appear to the left as dark figures in the foreground. The main accent is on the brightly illuminated group on the right. Terbrugghen's original talent and old Netherlandish realism successfully merge here with Caravaggesque motifs and elements. The mercenary soldier pointing to the money on the table shows a profile which marks him as a descendant of types popularized by early sixteenth century Flemish artists, and the six gesticulating hands in the centre are also a survival of an older tradition.
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Calling of St. Matthew (detail)
Unknown
Terbrugghen was the most important member of the Dutch Utrecht school. He spent ten years in Italy as a young man and he probably met there Caravaggio who exerted a great influence on him. His extant works were executed in Utrecht after returning from Italy. Sometimes he repeated the subjects of Caravaggio, like in the Calling of St. Matthew.
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Calling of St. Matthew (detail)
Unknown
Terbrugghen's original talent and old Netherlandish realism successfully merge here with Caravaggesque motifs and elements. The mercenary soldier pointing to the money on the table shows a profile which marks him as a descendant of types popularized by early sixteenth century Flemish artists, and the six gesticulating hands in the centre are also a survival of an older tradition.
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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
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
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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August III, King of Poland (Friedrich August II of Saxony)
Unknown
Mengs was widely regarded in his day as Europe's greatest living painter. He eschewed the dramatic illusionism and dynamism of the Baroque style in his figural compositions, preferring instead to blend quotations from ancient sculptures with stylistic elements of Raphael, Correggio, and Titian. The results are generally cold, insipid, and contrived, however, and Mengs's reputation has declined precipitously since the 18th century. Some of his portraits display a freedom and sureness of touch entirely lacking in his more ambitious works. Mengs's treatise Reflections on Beauty and Taste in Painting (1762) was also influential in his day. He worked for the Saxon court of Elector Augustus III.
