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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House of Jacques Coeur (1395-1456)
Unknown
Close det: statue of Jacques Coeur looking out from a a false window
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House of Jacques Coeur (1395-1456)
Unknown
Main detail, entrance pavilion with statue of Jacques Coeur from front left
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House of Jacques Coeur (1395-1456)
Unknown
Main detail, entrance pavilion with statue of Jacques Coeur from front center
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House of Vestals, Temple of Antoninus and Faustine, Torre delle Milizie
Unknown
View from above toward NE
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Houses of Parliament (Palace of Westminster)
Unknown
Houses of Parliament from NNW w Westminster Hall (1097 to 15th c), Victoria Tower beyond
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Houses of Parliament (Palace of Westminster)
Unknown
Houses of Parliament, Victoria Tower (compl. 1860), from NNW
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Houses of Parliament (Palace of Westminster)
Unknown
Det: elaborate ornament capping Victoria Tower, from ENE
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Houses of Parliament (Palace of Westminster)
Unknown
Total Thames Fatade fr ENE on Westminster Bridge
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Hunters in the Snow : Winter The Hunters in the Snow; January
Unknown
What was then understood as an illustration of seasonal labour a pig being singed in front of an inn comes across only as a secondary scene at the left edge of the painting.
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Hunters in the Snow; Winter The Hunters in the Snow; January
Unknown
Because of its unforgettably inventive form and colouring, the closing (not opening) painting of Bruegels series of the seasons is the most well-known and most popular of the pictures in this cycle.
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Illusionistic Architecture in Relief with Woman in Doorway
Unknown
Illusionistic architecture with woman
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Injured Giant from pediment of the Gigantomachy of the "Old Temple" on the Akropolis
Unknown
Overall view
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Interior of Men's Hospital at Arles (detail) Ward in the Hospital in Arles
Unknown
After recurrent attacks of his illness, Van Gogh decided to admit himself to a mental health clinic in Saint-R
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Interior of Men's Hospital at Arles Ward in the Hospital in Arles
Unknown
After recurrent attacks of his illness, Van Gogh decided to admit himself to a mental health clinic in Saint-R
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Interior with a Woman in a Wicker Chair
Unknown
This painting is an excellent example of Bonnard's technique of using the horizontals and verticals of walls, doors and windows to structure a composition. Despite its strong organisation around a central vertical axis, this is a classic instance of an overlapping series of planes being used to establish depth so that, looking from the bottom to the top, the canvas is transformed into looking in and then out. Right at the rear a kind of visual puzzle awaits us. The paint of the two areas of very pale blue in the middle section of the open doors appears to run down below the lower edges. The white section to the left can be seen as attached to the window, or standing at an angle just outside, or perhaps flat on a wall at some distance.
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Italian Woman (Agostina Segatori? )
Unknown
The woman depicted is probably Agostina Segatori, the owner of this caf
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Italian Woman (Agostina Segatori? )
Unknown
The woman depicted is probably Agostina Segatori, the owner of this caf
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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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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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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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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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King Fran Portrait of Fran
Unknown
The painting is one of the masterpieces of Renaissance portraiture. The half length figure of the king is painted in front of a scarlet brocade background. His cap, studded with pearls, is encircled with white feathers. His magnificent black and white striped satin doublet is lavishly embroidered in gold. A medal of St Michael is suspended on a gold chain around his neck. His right hand, holding gloves, rests on a table with a green velvet cover; his left on a magnificently worked sword hilt. His narrowed blue eyes, his shrewd glance, his dark moustache and beard lend his face a singular attraction. The whole is a telling portrait of a sovereign who was an outstanding personality and a generous Renaissance patron of art.
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King Fran Portrait of Fran
Unknown
The painting is one of the masterpieces of Renaissance portraiture. The half length figure of the king is painted in front of a scarlet brocade background. His cap, studded with pearls, is encircled with white feathers. His magnificent black and white striped satin doublet is lavishly embroidered in gold. A medal of St Michael is suspended on a gold chain around his neck. His right hand, holding gloves, rests on a table with a green velvet cover; his left on a magnificently worked sword hilt. His narrowed blue eyes, his shrewd glance, his dark moustache and beard lend his face a singular attraction. The whole is a telling portrait of a sovereign who was an outstanding personality and a generous Renaissance patron of art.
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King Fran Portrait of Fran
Unknown
The painting is one of the masterpieces of Renaissance portraiture. The half length figure of the king is painted in front of a scarlet brocade background. His cap, studded with pearls, is encircled with white feathers. His magnificent black and white striped satin doublet is lavishly embroidered in gold. A medal of St Michael is suspended on a gold chain around his neck. His right hand, holding gloves, rests on a table with a green velvet cover; his left on a magnificently worked sword hilt. His narrowed blue eyes, his shrewd glance, his dark moustache and beard lend his face a singular attraction. The whole is a telling portrait of a sovereign who was an outstanding personality and a generous Renaissance patron of art.
