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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Kroisos Kouros Anavyssos Kouros
Unknown
The Anavyssos kouros and others of the archaic period are typically very broad in the frontal view, but comparatively slim in the side view, with a distinct swaybacked curve at the waist. The chest is quite massive, but the neck is extremely slender.
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Kroisos Kouros Anavyssos Kouros
Unknown
KOUROS - Greek for youth. Kouros figures were grave monuments, The kouros, Kroisos, stands in a frontal posture, with his left foot slightly advanced. He holds his arms, which are separated from his body, at his sides, and clenches his fists. He is unusually fleshy, which suggests to East Greek influence. His hair is arranged in ringlets below a narrow taenia, but is summarily worked on the crown (as if he is wearing a skull cap). The locks of his hair, arranged strands of circular clumps, fall in a curve behind down his back, and are rounded on the sides.
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Kroisos Kouros Anavyssos Kouros
Unknown
Reconstructed, and restored, with plaster filling in missing parts on the left arm, left hand, left leg, and right heel; feet broken off beyond the heel. The surface is somewhat chipped and scratched, especially on the face (nose and right eye). Richter (118) notes that the statue was sawn for export in modern times, at the waist, knees, ankles, wrists, and above the left elbow, although the fracture of the right foot is ancient. There are traces of red color on the hair, taenia, iris, and public hair.
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'Kroisos' Kouros Anavyssos Kouros
Unknown
KOUROS - Greek for youth. Kouros figures were grave monuments, replacing (or supplementing) the large vessels of the Geometric Period. The Anavyssos Kouros and others of the archaic period are typically very broad in the frontal view, but comparatively slim in the side view, with a distinct swaybacked curve at the waist. The chest is quite massive, but the neck is extremely slender.
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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
Dancer, ladies hat, brushwork
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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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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 colour, 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.
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Landscape from the Bretagne
Unknown
Gauguin evolved towards an increasingly personal treatment of form and colour, and he adapted his technique to new requirements. According to Henri Delavall
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Landscape in Brittany
Unknown
Gaugins desire to return to untouched natural surroundings first took him to Brittany, looking for the
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Landscape in Brittany Brittany Landscape
Unknown
Gaugins desire to return to untouched natural surroundings first took him to Brittany, looking for the
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Landscape in the Jura (detail) Jura Landscape
Unknown
Gustave Courbet, a self-declared Realist, rejected the inherent sentimentality of the earlier Romantics. Courbet's interest in portraying things as they really appear, together with his non-academic orientation, place him in the front rank of the quest for realism that was the premise for much of the artistic activity during the second half of the nineteenth century. Emphatic in his opinions and constantly defying authority, Courbet believed that painters should paint only their own time and that "painting is an essentially concrete art, and can consist only of representation of real and existing things."
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Landscape in the Jura Jura Landscape
Unknown
Gustave Courbet, a self-declared Realist, rejected the inherent sentimentality of the earlier Romantics. Courbet's interest in portraying things as they really appear, together with his non-academic orientation, place him in the front rank of the quest for realism that was the premise for much of the artistic activity during the second half of the nineteenth century. Emphatic in his opinions and constantly defying authority, Courbet believed that painters should paint only their own time and that "painting is an essentially concrete art, and can consist only of representation of real and existing things."
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Landscape in Western Aix-en-Provence
Unknown
Cezanne drifted away from many of his Parisian contacts during the late 1870s and '80s and spent much of his time in his native Aix. This isolation and C
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Landscape: Jas de Bouffan
Unknown
For many years, still-lifes and landscapes were Cezanne's main topics. . Cezanne records the slightest variations in tone and color observed over long periods as well as the forms from empirical geometry he considered the most frequent in nature - the 'cylinder, sphere and the cone.
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Landscape with Viaduct, Mont Saint-Victoire Mont Sainte-Victoire and the Viaduct of the Arc River Valley
Unknown
Between 1882 and 1885, C
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Landscape with Village
Unknown
Cezanne was a great painter of the immediate landscape of Provence around his home, often painting the view seen from his studio. The quality of this landscape - the light, the color of the earth, the roll of the hills affects the way the artist reacts to it. Many artists who work from landscape begin to identify with feelings that the physical area arouses. He was fascinated by color, shape and form. Cezanne's art aimed to be both representational image and invention, objective and subjective, a moment and all eternity, and all this in harmonious equilibrium.
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Landscape with Village
Unknown
Cezanne was a great painter of the immediate landscape of Provence around his home, often painting the view seen from his studio. The quality of this landscape - the light, the color of the earth, the roll of the hills affects the way the artist reacts to it. Many artists who work from landscape begin to identify with feelings that the physical area arouses. He was fascinated by color, shape and form. Cezanne's art aimed to be both representational image and invention, objective and subjective, a moment and all eternity, and all this in harmonious equilibrium.
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Laon Cathedral of Notre Dame
Unknown
View up into the lantern or Crossing Tower, w crossing piers and vaulting
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L'Appel (The Call)
Unknown
There are many theories about the meaning of L'Appel. Some believe the call refers to the Christian idea of the call to follow the path to salvation. Or perhaps the beckoning figure is a temptress calling to her lover. A third theory suggests that the half-nude woman represents death calling to Gauguin himself. The couple in the foreground appear in several of Gauguin's paintings and sculptures, and he described them as two figures who are reflecting on their life experiences. The purple in the hood worn by one of them was a symbolic color for Gauguin and appears in many of his works. In Tahiti, purple referred to purpura, a disease in which the skin appears purple because of hemorrhaging beneath.
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L'Arlesienne (Mme. Ginoux). (detail) L'Arl
Unknown
While in Arles, Van Gogh painted two very similar portraits of Madame Ginoux, the proprietress of the Caf
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L'Arlesienne (Mme. Ginoux). (detail) L'Arl
Unknown
While in Arles, Van Gogh painted two very similar portraits of Madame Ginoux, the proprietress of the Caf
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L'Arlesienne (Mme. Ginoux) L'Arl
Unknown
While in Arles, Van Gogh painted two very similar portraits of Madame Ginoux, the proprietress of the Caf
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Laundry Drying on the Banks of the Seine (detail) Laundry Drying
Unknown
Caillebotte was a man of independent means who helped his Impressionist friends by purchasing their paintings at good prices (after his death he willed them to France), Caillebotte isn't usually ranked with the likes of Manet, Monet or Renoir. But his works here prove that he was enormously skilled, a fine craftsman, capable at rendering well a variety of subjects.
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Laundry Drying on the Banks of the Seine Laundry Drying
Unknown
Caillebotte was a man of independent means who helped his Impressionist friends by purchasing their paintings at good prices (after his death he willed them to France), Caillebotte isn't usually ranked with the likes of Manet, Monet or Renoir. But his works here prove that he was enormously skilled, a fine craftsman, capable at rendering well a variety of subjects.
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Le Basin aux Nympheas (with Irises) Nympheas (water Lilies)
Unknown
Towards the end of his life, Monet devoted his time to the creation of a stunning garden near the town of Giverny, which became the subject for many of his best loved paintings.
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'Le Basin aux Nympheas' (with Irises) Nympheas (water Lilies)
Unknown
At his home in Giverny, Monet created the water-lily pond that served as inspiration for his last series of paintings.
