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 Woman with Braided Blond Hair
Unknown
Helena was to inspire some of the most personal and poignant portraits of Rubens' later career, and their marriage was as fruitful as it was blissful, producing five children. Rubens often identified Helena with the goddess Venus. The art of Peter Paul Rubens is a fusion of the traditions of Flemish realism with the classicizing tendencies of the Italian Renaissance. Rubens was able to infuse his own astounding vitality into a powerful and exuberant style that came to epitomize the Baroque art of the 17th century.
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A Woman with Braided Blond Hair
Unknown
Helena was to inspire some of the most personal and poignant portraits of Rubens' later career, and their marriage was as fruitful as it was blissful, producing five children. Rubens often identified Helena with the goddess Venus. The art of Peter Paul Rubens is a fusion of the traditions of Flemish realism with the classicizing tendencies of the Italian Renaissance. Rubens was able to infuse his own astounding vitality into a powerful and exuberant style that came to epitomize the Baroque art of the 17th century.
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Bathsheba at the Fountain Receiving King David's Letter (detail) Bathsheba at the Fountain
Unknown
Between 1623 and 1631, Rubens traveled frequently on diplomatic missions, visiting London and Madrid, where he received peerages from both Charles I of England and Philip IV of Spain. Isabella Brant died in 1626; in 1630 Rubens married the 16-year-old Helene Fourment, who sat for many portraits and other works, " Bathsheba at the Fountain" is one. The twilight decade of 1630
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Bathsheba at the Fountain Receiving King David's Letter (detail) Bathsheba at the Fountain
Unknown
Between 1623 and 1631, Rubens traveled frequently on diplomatic missions, visiting London and Madrid, where he received peerages from both Charles I of England and Philip IV of Spain. Isabella Brant died in 1626; in 1630 Rubens married the 16-year-old Helene Fourment, who sat for many portraits and other works, " Bathsheba at the Fountain" is one. The twilight decade of 1630
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Bathsheba at the Fountain Receiving King David's Letter (detail) Bathsheba at the Fountain
Unknown
Between 1623 and 1631, Rubens traveled frequently on diplomatic missions, visiting London and Madrid, where he received peerages from both Charles I of England and Philip IV of Spain. Isabella Brant died in 1626; in 1630 Rubens married the 16-year-old Helene Fourment, who sat for many portraits and other works, " Bathsheba at the Fountain" is one. The twilight decade of 1630
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Bathsheba at the Fountain Receiving King David's Letter Bathsheba at the Fountain
Unknown
Between 1623 and 1631, Rubens traveled frequently on diplomatic missions, visiting London and Madrid, where he received peerages from both Charles I of England and Philip IV of Spain. Isabella Brant died in 1626; in 1630 Rubens married the 16-year-old Helene Fourment, who sat for many portraits and other works, " Bathsheba at the Fountain" is one. The twilight decade of 1630
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Count Moritz of Saxony, Field Marshal of France (detail) Maurice, Comte de Saxe, Marshal of France
Unknown
January 1747 Louis appointed Saxe marshal general of France. In 1747 he invaded Holland, defeated an allied army in the Battle of Lauffeld near Maastricht (July 2), and captured the fortress of Bergen-Op-Zoom. Saxe retired to his ch
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Count Moritz of Saxony, Field Marshal of France Maurice, Comte de Saxe, Marshal of France
Unknown
La Tour was a pastelist whose animated and sharply characterized portraits made him one of the most successful and imitated portraitists of 18th-century France.
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The Drunken Silenus, mon (detail) Drunken Silenus supported by Satyrs
Unknown
Silenus was the teacher and companion of Bacchus, the god of wine; he is often shown supported by satyrs because of his age and drunken condition. At the lower right two putti offer him grapes, while above them an old Bacchante carries a torch. On the left a figure playes pipes, and a young Bacchante squeezes grapes over Silenus. The painting is thought to have been executed in Rubens' studio. The sky and landscape are probably by Jan Wildens, and the foliage and fruit by Frans Snijders. The design of the figures may have been executed by a member of the studio, possibly Van Dyck, and then reworked by Rubens himself.
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The Drunken Silenus, mon (detail) Drunken Silenus supported by Satyrs
Unknown
Silenus was the teacher and companion of Bacchus, the god of wine; he is often shown supported by satyrs because of his age and drunken condition. At the lower right two putti offer him grapes, while above them an old Bacchante carries a torch. On the left a figure playes pipes, and a young Bacchante squeezes grapes over Silenus. The painting is thought to have been executed in Rubens' studio. The sky and landscape are probably by Jan Wildens, and the foliage and fruit by Frans Snijders. The design of the figures may have been executed by a member of the studio, possibly Van Dyck, and then reworked by Rubens himself.
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The Drunken Silenus, mon Drunken Silenus supported by Satyrs
Unknown
Silenus was the teacher and companion of Bacchus, the god of wine; he is often shown supported by satyrs because of his age and drunken condition. At the lower right two putti offer him grapes, while above them an old Bacchante carries a torch. On the left a figure playes pipes, and a young Bacchante squeezes grapes over Silenus. The painting is thought to have been executed in Rubens' studio. The sky and landscape are probably by Jan Wildens, and the foliage and fruit by Frans Snijders. The design of the figures may have been executed by a member of the studio, possibly Van Dyck, and then reworked by Rubens himself.
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The Peasant Family (detail) Family of Country People
Unknown
It is still not known precisely which of the three Le Nain brothers (most probably Louis or Antoine) was the author of a series of paintings with peasant subjects. The series is prominent among Western art of the genre, for its exceptional quality and solemnity, its muted colours and the austere dignity of the figures, fixed in their attentive, stilled poses. This scene, the largest of the series, has the universality of a classical text. Wine and bread are given a emphasis that is redolent with symbolism. The Louvre has two paintings depicting peasant families by Le Nain, one of them is an austere and virile work. This one, however, strikes a note of profound intimacy, a warmth of spirit, like the atmosphere of a domestic festivity.
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The Peasant Family Family of Country People
Unknown
The general harmony of greys and browns is in keeping with the spirit of austerity reigning in French painting in the time of Louis XIII. Unlike the Flemings, who made their scenes of rustic life an occasion for depicting the unleashing of the coarsest sensual instincts, Louis Le Nain saw in the peasant soul a profound gravity, even solemnity; the expression of a life of toil whose hard realities have bestowed on it a sense of its own dignity. The paint quality is flowing and rich, with touches of impasto used not simply for effect, as in the work of Frans Hals, but giving proof of a sensitive brush, searching out the modelling with attention and feeling.
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The Benediction (detail)
Unknown
The topic is the prayer preceding the meal, treated by the Dutch Masters of the 18th century, is reinterpreted in this scene filled with tenderness and reserve. This is one of most famous works of Chardin. His technical skill gave his paintings an uncannily realistic texture. He rendered forms by means of light by using thick, layered brushstrokes and thin, luminous glazes. Called the grand magician by critics, he achieved a mastery in these areas unequaled by any other 18th-century painter. Chardin's early support came from aristocratic patrons, including King Louis XV.
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The Benediction
Unknown
The topic is the prayer preceding the meal, treated by the Dutch Masters of the 18th century, is reinterpreted in this scene filled with tenderness and reserve. This is one of most famous works of Chardin. His technical skill gave his paintings an uncannily realistic texture. He rendered forms by means of light by using thick, layered brushstrokes and thin, luminous glazes. Called the grand magician by critics, he achieved a mastery in these areas unequaled by any other 18th-century painter. Chardin's early support came from aristocratic patrons, including King Louis XV.
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King Charles I of England as a Hunter (detail) Charles I: King of England at the Hunt
Unknown
In 1632, Charles I invited Van Dyck to England to be a court painter. He was knighted, rewarded with the generous annuity of
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Et in Arcadia Ego (detail)
Unknown
In this version all sense of surprise has been removed, and instead, the shepherds are arranged in attitudes of contemplation round the tomb in the countryside. The artist has lost all interest in story-telling, and has concentrated on a totally static scene. No pleasure is taken in surface texture, and the whole is hard and cold, with the figures in statuesque poses.
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King Charles I of England as a Hunter Charles I: King of England at the Hunt
Unknown
In 1632, Charles I invited Van Dyck to England to be a court painter. He was knighted, rewarded with the generous annuity of
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Et in Arcadia Ego
Unknown
Shepherds are seen before a tomb deciphering the inscription with an air of melancholy curiosity. The skull is no longer significant or is omitted. The words seem to imply an epitaph on the person, perhaps a shepherdess, who lies entombed: 'I too once lived in Arcady', an alteration to the meaning that somewhat stretches the grammar of the original Latin.In this version all sense of surprise has been removed, and instead, the shepherds are arranged in attitudes of contemplation round the tomb in the countryside. The artist has lost all interest in story-telling, and has concentrated on a totally static scene. No pleasure is taken in surface texture, and the whole is hard and cold, with the figures in statuesque poses.
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Et in Arcadia Ego
Unknown
'Et in Arcadia ego' is a phrase coined by Virgil and used in 17th century Italy expressing, in an elliptical way, the humanistic sentiment: Even in Arcadia I (i.e. Death) am to be found. That is to say, even the escapist, pastoral world of Arcady is no refuge from death. The words feature in paintings from that time inscribed on monumental stonework, especially a tomb, which stands in rural surroundings. The earliest representation of the theme by Guercino (Galleria Corsini, Rome) shows two shepherds coming unexpectedly upon a skull - the typical memento mori - that lies on a piece of fallen masonry bearing the words 'Et in Arcadia ego'.
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ChGteau de Blois
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Wing of Francois I (1515-24), courtyard fatade, with spiral staircase tower, from S
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Palace of Versailles
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Hall of Mirrors, raking view of exterior wall w windows and candelabras
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Palace of Versailles
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Hall of Mirrors. Elaborate ceiling and wall decorations by Charles LeBrun
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Palace of Versailles
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Det: Salon of War, w decorative details by LeBrun and Coyseveaux's Louis XIV on Horseback
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Palace of Versailles
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Royal Chapel, Interior, 1678-79, compl. After 1708 (ceiling decorations by A. COYPEL)
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Autumn Mountains
Unknown
Tung Ch'i-ch'ang (1555-1636) advocated the Southern School Tung-Chu style over the Northern School associated with the Li-Kuo style. Thus, artists who chose to work in the Li-Kuo style often only did so only to complete their repertoire, but with a decidedly Southern School accent. Tung Ch'i-ch'ang, employing only monochrome ink, depicts mountains and boulders, trees and woods, streams and rivers, and cottages and slopes-all well placed in a landscape that is here piled into a composition of power and grandeur.
