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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Karnak Temple Complex, Bundled Papyrus-Columns & Garden of Amun-Re
Unknown
Bundled-Papyrus columns of Thutmosis III, Garden of Amun-Re
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Karnak Temple Complex, Monumental East Gateway
Unknown
Terminating East Gateway of Karnak Temple complex
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Karnak Temple Complex, Open Courtyard of the Temple of Ramesses III
Unknown
Open courtyard of Temple of Ramsses III, Osiride pillars of Ramsses III line the walls
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Karnak Temple Complex, Precinct of Amun-Re
Unknown
Overview from east looking west, Thutmose core and the Festival Hall of Thutmose III (Akh-menu), Temple of Amun Ra at Karnak
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Karnak Temple Complex, Statue of King Thutmose III at the Akh-menu
Unknown
1 of 3 statues originally erected by Thutmose III, converted by early Christians to a crucifix
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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.
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Kore Persephone
Attic workshop influenced by the school of Agorakritos
Full length front center view
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Kore Persephone, Left Front
Attic workshop influenced by the school of Agorakritos
Full length from left front view
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Kore Persephone, Left Rear
Attic workshop influenced by the school of Agorakritos
Full length from right rear, showing back
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Kore with Almond Eyes, Torso & Buttocks
Attic workshop
Detail of hair, drapery and buttocks from right rear
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La Danse au Moulin-Rouge. Panel for La Goulue's booth at the Foire du Tr(ne, Paris
Unknown
Men, women at left, brushwork
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La Danse au Moulin-Rouge. Panel for La Goulue's booth at the Foire du Tr(ne, Paris
Unknown
Dancer, lady (la Goulue: Louise Weber, 1866-1929), gentleman
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La Danse Mauresque. Panel for la Goulue's booth at the Foire du Tr(ne, Paris
Unknown
Piano player, gentlemen in top hats
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La Danse Mauresque. Panel for la Goulue's booth at the Foire du Tr(ne, Paris
Unknown
Man with goatee
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La Danse Mauresque. Panel for la Goulue's booth at the Foire du Trone, Paris
Unknown
Dancer, ladies hat, brushwork
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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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Lady with a Dog Woman and Dog
Unknown
Degas evidently retained in memory a moment when his sitters were in pensive mood. He did not seek to flatter them or make a `pretty picture' (an idea he regarded with horror). On the other hand nothing could have been farther from his thoughts than to depict these familiar acquaintances as monsters of dissipation and degradation in order to draw a moral lesson.
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La Giaconda Mona Lisa
Unknown
Painted on a thin backing of poplar wood, the modeling of the face is astonishingly realistic. After preparing the wooden panel with several layers of coating, he first of all drew his motif directly onto the picture, before painting it in oil, adding very weak turpentine, which enabled him to paint on inumerable layers of transparent color, known as glaze, and to endlessly remodel the face. The glaze, skilfully worked, heightens the effects of light and shade on the face, constituting what Leonardo himself called "sfumato". This technique enables the perfect imitation of flesh, due to refined treatment of the human figure plunged into half-obscurity or chiaroscurro, and enabled Leonardo to satisfy his preoccupation with realism.
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La Giaconda Mona Lisa
Unknown
If Vasari is correct, the portrait which Leonardo took to France, that was acquired by Fran
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La Guinguette (detail) Terrace of a Cafe on Montmartre (La Guinguette)
Unknown
"And my aim in my life is to make pictures and drawings, as many and as well as I can; then, at the end of my life, I hope to pass away, looking back with love and tender regret, and thinking, 'Oh, the pictures I might have made!'" Vincent van Gogh, Letter 338,19 November 1883.
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La Guinguette Terrace of a Cafe on Montmartre (La Guinguette)
Unknown
"And my aim in my life is to make pictures and drawings, as many and as well as I can; then, at the end of my life, I hope to pass away, looking back with love and tender regret, and thinking, 'Oh, the pictures I might have made!'" Vincent van Gogh, Letter 338,19 November 1883.
