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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Set of Drawings underneath the Medici Chapel, San Lorenzo, Florence. These drawings were done while Michelangelo was hiding from the Medici force after the siege of Florence and were only discovered in 1975
Unknown
Detail: close-up upper part of man, large head
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Set of Drawings underneath the Medici Chapel, San Lorenzo, Florence. These drawings were done while Michelangelo was hiding from the Medici force after the siege of Florence and were only discovered in 1975
Unknown
End Wall opposite entrance: standing woman facing right, combined with torso of reclining men and a large head
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Set of Drawings underneath the Medici Chapel, San Lorenzo, Florence. These drawings were done while Michelangelo was hiding from the Medici force after the siege of Florence and were only discovered in 1975
Unknown
Man ascending, seen from behind with head between his legs
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Set of Drawings underneath the Medici Chapel, San Lorenzo, Florence. These drawings were done while Michelangelo was hiding from the Medici force after the siege of Florence and were only discovered in 1975
Unknown
A striding right leg, seen from behind, combined with a drape and a torso in strong contraposto with upraised arm
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Set of Drawings underneath the Medici Chapel, San Lorenzo, Florence. These drawings were done while Michelangelo was hiding from the Medici force after the siege of Florence and were only discovered in 1975
Unknown
Man on his stomach, with legs and arms thrashing about
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Set of Drawings underneath the Medici Chapel, San Lorenzo, Florence. These drawings were done while Michelangelo was hiding from the Medici force after the siege of Florence and were only discovered in 1975
Unknown
Two Pair of Legs: those of the seated Giuliano de'Medici and Striding Lower Legs seen from behind
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Assumption of the Virgin, 1580s? central panel, ceiling of Cappella del Rosario. Venice, Ss. Giovanni e Paolo
Unknown
Assumption (Veronese), carved ceiling (Vittoria)
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Assumption of the Virgin, 1580s? central panel, ceiling of Cappella del Rosario. Venice, Ss. Giovanni e Paolo
Unknown
Total, restored in 1958
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Portrait of a Young Man (possibly Guidobaldo II, Duke of Urbino) A Florentine Gentleman
Unknown
This portrait
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The Combat of Love and Chastity (detail) The Combat of Love and Chastity : Triumph of Chastity
Unknown
Giorgio Vasari, a 16th-century biographer and artist, wrote that the critical Florentines began to lampoon him, and Perugino replied that they had once praised his work, and, if he now gave the same designs, they had no right to blame him. It is certainly true that the
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The Combat of Love and Chastity The Combat of Love and Chastity : Triumph of Chastity
Unknown
Giorgio Vasari, a 16th-century biographer and artist, wrote that the critical Florentines began to lampoon him, and Perugino replied that they had once praised his work, and, if he now gave the same designs, they had no right to blame him. It is certainly true that the
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Wisdom Victorious Over the Vices
Unknown
Close-up of Minerva, showing feathers, armor, drapery, brushwork
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Marriage Feast at Cana
Unknown
Close-up: Oriental potentate, lady picking her teeth, table still-life
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Old Man with a Young Boy (detail) Portrait of an Old man with a Young Boy
Unknown
Ghirlandaio is best known for his frescoes, in which he often set religious subjects in a secular setting and in which he included recognizable portraits. His largest commission, completed in 1490, depicting scenes from the lives of the Virgin and St John the Baptist, was in the Santa Maria Novella, Florence. Ironically, in An Old Man and his Grandson, one of his best works, the identity of the protagonists remains a mystery. This naturalistic double portrait is an intimate and moving portrayal of a tender relationship between doting age and attendant youth. The loving young boy is oblivious to the old man's unfortunate physiognomy, a symptom of rhinophyma, from which he suffered.
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Old Man with a Young Boy (detail) Portrait of an Old man with a Young Boy
Unknown
Ghirlandaio is best known for his frescoes, in which he often set religious subjects in a secular setting and in which he included recognizable portraits. His largest commission, completed in 1490, depicting scenes from the lives of the Virgin and St John the Baptist, was in the Santa Maria Novella, Florence. Ironically, in An Old Man and his Grandson, one of his best works, the identity of the protagonists remains a mystery. This naturalistic double portrait is an intimate and moving portrayal of a tender relationship between doting age and attendant youth. The loving young boy is oblivious to the old man's unfortunate physiognomy, a symptom of rhinophyma, from which he suffered.
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Old Man with a Young Boy (detail) Portrait of an Old man with a Young Boy
Unknown
Ghirlandaio is best known for his frescoes, in which he often set religious subjects in a secular setting and in which he included recognizable portraits. His largest commission, completed in 1490, depicting scenes from the lives of the Virgin and St John the Baptist, was in the Santa Maria Novella, Florence. Ironically, in An Old Man and his Grandson, one of his best works, the identity of the protagonists remains a mystery. This naturalistic double portrait is an intimate and moving portrayal of a tender relationship between doting age and attendant youth. The loving young boy is oblivious to the old man's unfortunate physiognomy, a symptom of rhinophyma, from which he suffered.
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Annunciation and Nativity (Altarpiece of Observation) (detail)
Unknown
The main panel and the predella formed the altarpiece of the church of Observation in Bologna. At both sides of the predella there were two small paintings representing St Clare and St Catherine of Alexandria, presently both in the Thyssen collection in Madrid. The altarpiece was attributed to Mantegna until the end of the 19th century.
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Annunciation and Nativity (Altarpiece of Observation) (detail)
Unknown
The main panel and the predella formed the altarpiece of the church of Observation in Bologna. At both sides of the predella there were two small paintings representing St Clare and St Catherine of Alexandria, presently both in the Thyssen collection in Madrid. The altarpiece was attributed to Mantegna until the end of the 19th century.
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Annunciation and Nativity (Altarpiece of Observation) (detail)
Unknown
The main panel and the predella formed the altarpiece of the church of Observation in Bologna. At both sides of the predella there were two small paintings representing St Clare and St Catherine of Alexandria, presently both in the Thyssen collection in Madrid. The altarpiece was attributed to Mantegna until the end of the 19th century.
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Annunciation and Nativity (Altarpiece of Observation)
Unknown
The main panel and the predella formed the altarpiece of the church of Observation in Bologna. At both sides of the predella there were two small paintings representing St Clare and St Catherine of Alexandria, presently both in the Thyssen collection in Madrid. The altarpiece was attributed to Mantegna until the end of the 19th century.
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The Sacrifice of Isaac Stopped by the Angel Abraham Sacrificing Isaac
Unknown
Abraham and Isaac have passionate expressions. Isaac appears to be reacting in fear to his father, whereas Abraham is caught at the exact moment that he knows his son will not be killed. He appears to be between a state of agony (at the idea of having to kill his own son) and a state of thankfulness (at God's willingness to allow his son to live). This is the first and only piece of art in this series to mention the stopping of the sacrifice in its title.
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Portrait of a Gentleman (detail) Portrait of a Man
Unknown
A sense of calm and expressiveness as well as light effects are outstanding in this canvas. It clearly shows the influence of Giorgione, particularly in the general tone of calm melancholy expressed in the face.
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The Sacrifice of Isaac Stopped by the Angel Abraham Sacrificing Isaac
Unknown
Abraham and Isaac have passionate expressions. Isaac appears to be reacting in fear to his father, whereas Abraham is caught at the exact moment that he knows his son will not be killed. He appears to be between a state of agony (at the idea of having to kill his own son) and a state of thankfulness (at God's willingness to allow his son to live). This is the first and only piece of art in this series to mention the stopping of the sacrifice in its title.
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Portrait of a Gentleman Portrait of a Man
Unknown
A sense of calm and expressiveness as well as light effects are outstanding in this canvas. It clearly shows the influence of Giorgione, particularly in the general tone of calm melancholy expressed in the face.
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Madonna with St. George (detail)
Unknown
Correggio painted this altarpiece for the oratory of the confraternity of San Pietro Martire in Modena. Around the Madonna and Child are set St Gimignano who is holding a model of the city of Modena, of which he is the patron, along with St John the Baptist, St Peter the Martyr, patron of the confraternity, and St George with his foot on the dragon's head. The putto closest to the foreground has a vivacity that brings Parmigianino to mind. Correggio is using a Mannerist back lighting, derived from Beccafumi.
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Madonna with St. George (detail)
Unknown
Correggio painted this altarpiece for the oratory of the confraternity of San Pietro Martire in Modena. Around the Madonna and Child are set St Gimignano who is holding a model of the city of Modena, of which he is the patron, along with St John the Baptist, St Peter the Martyr, patron of the confraternity, and St George with his foot on the dragon's head. The putto closest to the foreground has a vivacity that brings Parmigianino to mind. Correggio is using a Mannerist back lighting, derived from Beccafumi.
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Madonna with St. George (detail)
Unknown
Correggio painted this altarpiece for the oratory of the confraternity of San Pietro Martire in Modena. Around the Madonna and Child are set St Gimignano who is holding a model of the city of Modena, of which he is the patron, along with St John the Baptist, St Peter the Martyr, patron of the confraternity, and St George with his foot on the dragon's head. The putto closest to the foreground has a vivacity that brings Parmigianino to mind. Correggio is using a Mannerist back lighting, derived from Beccafumi.
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Madonna with St. George (detail)
Unknown
Correggio painted this altarpiece for the oratory of the confraternity of San Pietro Martire in Modena. Around the Madonna and Child are set St Gimignano who is holding a model of the city of Modena, of which he is the patron, along with St John the Baptist, St Peter the Martyr, patron of the confraternity, and St George with his foot on the dragon's head. The putto closest to the foreground has a vivacity that brings Parmigianino to mind. Correggio is using a Mannerist back lighting, derived from Beccafumi.
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The Holy Night (Adoration of Shepherds) (detail) Nativity (Holy Night)
Unknown
The light appears simultaneously to bathe and to emerge from the Child, who is lying on a rough pallet, only to soften on the face of the Virgin, tenderly rapt in a maternal embrace. They are surrounded by the fluid gestures of the shepherds and of St Joseph, who is holding back the donkey, and by the kicking legs of the angels transported by the cloud that spreads hazily through the picture.The painting is not lacking in color and the chiaroscuro spreads over and softens every form. It is a picture that points the way toward the future Lombard investigation of luministic effects, and was used as a model by such painters as Procaccini, Reni, and Domenichino, and even later on, by Barocci and Maratta.
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The Holy Night (Adoration of Shepherds) (detail) Nativity (Holy Night)
Unknown
The light appears simultaneously to bathe and to emerge from the Child, who is lying on a rough pallet, only to soften on the face of the Virgin, tenderly rapt in a maternal embrace. They are surrounded by the fluid gestures of the shepherds and of St Joseph, who is holding back the donkey, and by the kicking legs of the angels transported by the cloud that spreads hazily through the picture.The painting is not lacking in color and the chiaroscuro spreads over and softens every form. It is a picture that points the way toward the future Lombard investigation of luministic effects, and was used as a model by such painters as Procaccini, Reni, and Domenichino, and even later on, by Barocci and Maratta.
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The Holy Night (Adoration of Shepherds) (detail) Nativity (Holy Night)
Unknown
The light appears simultaneously to bathe and to emerge from the Child, who is lying on a rough pallet, only to soften on the face of the Virgin, tenderly rapt in a maternal embrace. They are surrounded by the fluid gestures of the shepherds and of St Joseph, who is holding back the donkey, and by the kicking legs of the angels transported by the cloud that spreads hazily through the picture.The painting is not lacking in color and the chiaroscuro spreads over and softens every form. It is a picture that points the way toward the future Lombard investigation of luministic effects, and was used as a model by such painters as Procaccini, Reni, and Domenichino, and even later on, by Barocci and Maratta.
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St. Sebastian (detail) Saint Sabastian
Unknown
This is a late work of Antonello showing Venetian influences.
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Noli me Tangere (detail)
Unknown
Untempted by Rome, Florence or Venice, Correggio, working in the North Italian city of Parma, maintained his originality throughout the High Renaissance and became one of the most important influences on seventeenth-century Baroque painting. However, he was receptive to the art particularly of Raphael and Leonardo: his sense of ideal beauty and the structure of his compositions owe much to Raphael, while his handling of textures and light presupposes Leonardo. In this work he uses a pyramidal composition of classic High Renaissance kind and a diagonal movement anticipating the Baroque. The beautiful landscape evokes the light of dawn, the time when Mary Magdalene met Christ by the tomb.
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Noli me Tangere (detail)
Unknown
Untempted by Rome, Florence or Venice, Correggio, working in the North Italian city of Parma, maintained his originality throughout the High Renaissance and became one of the most important influences on seventeenth-century Baroque painting. However, he was receptive to the art particularly of Raphael and Leonardo: his sense of ideal beauty and the structure of his compositions owe much to Raphael, while his handling of textures and light presupposes Leonardo. In this work he uses a pyramidal composition of classic High Renaissance kind and a diagonal movement anticipating the Baroque. The beautiful landscape evokes the light of dawn, the time when Mary Magdalene met Christ by the tomb.
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Noli me Tangere
Unknown
Untempted by Rome, Florence or Venice, Correggio, working in the North Italian city of Parma, maintained his originality throughout the High Renaissance and became one of the most important influences on seventeenth-century Baroque painting. However, he was receptive to the art particularly of Raphael and Leonardo: his sense of ideal beauty and the structure of his compositions owe much to Raphael, while his handling of textures and light presupposes Leonardo. In this work he uses a pyramidal composition of classic High Renaissance kind and a diagonal movement anticipating the Baroque. The beautiful landscape evokes the light of dawn, the time when Mary Magdalene met Christ by the tomb.
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Calumny of Apelles (detail)
Unknown
Calumny, preceded by Jealousy, drags an innocent man to the judgment throne of Midas; Suspicion and Deceit whisper in Midas's ear, while Remorse gazes downcast at naked Truth. How distant these impassioned mortals are from Botticelli's legendary gods basking in the sun.
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Calumny of Apelles (detail)
Unknown
Remorse gazes downcast at naked Truth. How distant these impassioned mortals are from Botticelli's legendary gods basking in the sun. His imagination became darker and more anguished in some later works, as we can see from his allegory of the Calumny of Apelles.
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Calumny of Apelles (detail)
Unknown
This famous masterwork represents the Appelle's Calumny, the ancient painting by Appelles described by Lucian of Samosata in one of his Dialogues. It included ten figures: on the right King Mida, the bad Judge, is enthroned between Suspicion and Ignorance; before him Spite (or Envy) is leading a young woman (Calumny) adorned by Deceit and Duplicity, while she drags naked Innocence along. On the left Penitence an Thruth. On the background marble arcades with sculptures and bas reliefs underline the study of antique by Botticelli.
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Danae and the Shower of Gold (detail) Danae with Nursemaid
Unknown
The represented theme is of the mythological fable in which Zeus had to transform himself into golden rain to seduce the beautiful Danae, whose father had her locked in a hermetically sealed metal room precisely to protect her from the advances of this very god. In his flirtatious adventures Zeus transformed himself to avoid being recognised: into an eagle, a bull, a swan..., or, as in this case, golden rain. From this special relationship with Danae, Perseus, one of the most important heroes of classical mythology, would be born.
