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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Le D Le Bain
Unknown
The active spirit of independance in Impressionism --- if not its style --- may be considered to date from this famous work, refused by the Salon in 1863 and exhibited, under the title of Le Bain at the Salon des Refus
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Le D Le Bain
Unknown
The furious outcry it caused as the principal exhibit among the Salon rejects was based on the alleged indecency of two fully-dressed men appearing in the company of the naked female bather (an accusation no one had thought to make against the comparable juxtaposition in the work attributed to Giorgione). But the respectable persons represented in sedate conversation were Manet's favourite model, Victorine Meurend (whom he also painted as a toreador), his brother-in-law, Ferdinand Leenhoff, and Manet's younger brother, Eug
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Le D Le Bain
Unknown
The active spirit of independance in Impressionism --- if not its style --- may be considered to date from this famous work, refused by the Salon in 1863 and exhibited, under the title of Le Bain at the Salon des Refus
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Le D Le Bain
Unknown
The active spirit of independance in Impressionism --- if not its style --- may be considered to date from this famous work, refused by the Salon in 1863 and exhibited, under the title of Le Bain at the Salon des Refus
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Le D Le Bain
Unknown
The furious outcry this painting caused as the principal exhibit among the Salon rejects was based on the alleged indecency of two fully-dressed men appearing in the company of the naked female bather (an accusation no one had thought to make against the comparable juxtaposition in the work attributed to Giorgione). But the respectable persons represented in sedate conversation were Manet's favourite model, Victorine Meurend (whom he also painted as a toreador), his brother-in-law, Ferdinand Leenhoff, and Manet's younger brother, Eug
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L'Estaque, Gulf of Marseille L'Estaque
Unknown
The painting lives through the power of great contrasts: the luminous, richly broken field of oranges, and greens against the blue sea; the modeled wavy mountains, convex, against the filmy, substanceless sky. The broad strata of the landscape are interlocked pairs, forming larger rectangular zones which become more cohesive still through the horizontals in the diagonal fields and the sloping forms in the horizontal. An ever-active touch, responding to the lie or swerve or rise of objects, unites this extended world from point to point. Nothing is perfectly still; the dark water has its pulsations and nuanced mood, and the pure sky, a delicate quivering of ethereal tones.
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Liberty Leading the People (detail) Liberty Leading the People (July 28, 1830)
Unknown
Delacroix was not actively involved in the three days of July 1830, known as the Trois Glorieuses, which saw out the autocracy of Charles X and brought in Louis-Philippe's parlementary monarchy. But liberal and romantic as he was, he was keen to celebrate the 28 July, when Parisians took up arms in the vain hope of restoring the Republic. The allegorical figure of Liberty waves the tricolour flag and storms the corpse-ridden barricades with a young combatant at her side. Realism and epic vision work together. Reviled by conservatives, the work was bought by Louis-Philippe at the 1831 Salon. Soon after, it was hidden for fear of inciting public unrest.
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Liberty Leading the People (detail) Liberty Leading the People (July 28, 1830)
Unknown
Delacroix was not actively involved in the three days of July 1830, known as the Trois Glorieuses, which saw out the autocracy of Charles X and brought in Louis-Philippe's parlementary monarchy. But liberal and romantic as he was, he was keen to celebrate the 28 July, when Parisians took up arms in the vain hope of restoring the Republic. The allegorical figure of Liberty waves the tricolour flag and storms the corpse-ridden barricades with a young combatant at her side. Realism and epic vision work together. Reviled by conservatives, the work was bought by Louis-Philippe at the 1831 Salon. Soon after, it was hidden for fear of inciting public unrest.
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Liberty Leading the People (detail) Liberty Leading the People (July 28, 1830)
Unknown
Delacroix was not actively involved in the three days of July 1830, known as the Trois Glorieuses, which saw out the autocracy of Charles X and brought in Louis-Philippe's parlementary monarchy. But liberal and romantic as he was, he was keen to celebrate the 28 July, when Parisians took up arms in the vain hope of restoring the Republic. The allegorical figure of Liberty waves the tricolour flag and storms the corpse-ridden barricades with a young combatant at her side. Realism and epic vision work together. Reviled by conservatives, the work was bought by Louis-Philippe at the 1831 Salon. Soon after, it was hidden for fear of inciting public unrest.
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Liberty Leading the People Liberty Leading the People (July 28, 1830)
Unknown
Delacroix was not actively involved in the three days of July 1830, known as the Trois Glorieuses, which saw out the autocracy of Charles X and brought in Louis-Philippe's parlementary monarchy. But liberal and romantic as he was, he was keen to celebrate the 28 July, when Parisians took up arms in the vain hope of restoring the Republic. The allegorical figure of Liberty waves the tricolour flag and storms the corpse-ridden barricades with a young combatant at her side. Realism and epic vision work together. Reviled by conservatives, the work was bought by Louis-Philippe at the 1831 Salon. Soon after, it was hidden for fear of inciting public unrest.
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Louvre: Cour CarrTe, Wing of Henri II
Unknown
View of upper central fatade showing sculptural treatment
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Ludovisi Battle Sarcophagus: Battle of Romans and Barbarians. Sarcophagus is memorial to wars against the Ostrogoths in mid 3rd c
Unknown
Roman soldier holding bound barbarian by his beard (front, left side in middle)
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Ludovisi Battle Sarcophagus: Battle of Romans and Barbarians. Sarcophagus is memorial to wars against the Ostrogoths in mid 3rd c
Unknown
Vanquished barbarians at lower right
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Ludovisi Battle Sarcophagus: Battle of Romans and Barbarians. Sarcophagus is memorial to wars against the Ostrogoths in mid 3rd c
Unknown
Left end from left front, barbarian rider attacking Roman
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Ludovisi Battle Sarcophagus: Battle of Romans and Barbarians. Sarcophagus is memorial to wars against the Ostrogoths in mid 3rd c
Unknown
Right end and raking view of front from front right
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Ludovisi Battle Sarcophagus: Battle of Romans and Barbarians. Sarcophagus is memorial to wars against the Ostrogoths in mid 3rd c
Unknown
Fallen horse and speared barbarian (at lower front left)
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Ludovisi Battle Sarcophagus: Battle of Romans and Barbarians. Sarcophagus is memorial to wars against the Ostrogoths in mid 3rd c
Unknown
Roman general (perhaps Ostilianus, Emperor Dicius' son, died 252 AD) and his horse
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Ludovisi Battle Sarcophagus: Battle of Romans and Barbarians. Sarcophagus is memorial to wars against the Ostrogoths in mid 3rd c
Unknown
Romans and Barbarians at upper right
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Ludovisi Battle Sarcophagus: Battle of Romans and Barbarians. Sarcophagus is memorial to wars against the Ostrogoths in mid 3rd c
Unknown
Vanquished barbarians at lower left
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Ludovisi Battle Sarcophagus: Battle of Romans and Barbarians. Sarcophagus is memorial to wars against the Ostrogoths in mid 3rd c
Unknown
Romans and Barbarians at upper left
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Ludovisi Battle Sarcophagus: Battle of Romans and Barbarians. Sarcophagus is memorial to wars against the Ostrogoths in mid 3rd c
Unknown
Close det: dying barbarian (on right half in front)
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Ludovisi Battle Sarcophagus: Battle of Romans and Barbarians. Sarcophagus is memorial to wars against the Ostrogoths in mid 3rd c
Unknown
Roman trumpeter & barbarian swordsman (front, top left)
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Luncheon in the Studio After Coffee: in the Studio
Unknown
In October 28, 1863, Manet married Suzanne Leenhoff in Holland. Manet
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Luncheon in the Studio After Coffee: in the Studio
Unknown
In October 28, 1863, Manet married Suzanne Leenhoff in Holland. Manet
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Madame Cezanne Sewing
Unknown
On his first Paris trip, he met Marie-Hortense Fiquet, the model who eventually became his wife and the mother of his only child. She never liked Provence, and she never understood her husband. She preferred the city lights to the south of France, so they lived apart much of the time. She dutifully posed for her husband during summers in Aix, but these portraits show her with a remote, inscrutable look, with eyes that never meet the viewer's. She didn't get much out of the marriage. Paul kept her a secret from the family for years, and because he seldom sold a painting (although he did barter them for art supplies from P
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Madame Cross on the Terrace Portrait of Mrs. Henri Edmond Cross
Unknown
In 1891 he adopted, under the influence of his colleagues Seurat and Signac, the pointilist technique. He moved to the Midi, where landscapes inspired by the region of the Var became his preferred subject. By means of pure colour he was able to give free reign to his taste for lyricism and harmony.
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Madame Cross on the Terrace Portrait of Mrs. Henri Edmond Cross
Unknown
In 1891 he adopted, under the influence of his colleagues Seurat and Signac, the pointilist technique. He moved to the Midi, where landscapes inspired by the region of the Var became his preferred subject. By means of pure colour he was able to give free reign to his taste for lyricism and harmony.
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Madame Cross on the Terrace Portrait of Mrs. Henri Edmond Cross
Unknown
In 1891 he adopted, under the influence of his colleagues Seurat and Signac, the pointilist technique. He moved to the Midi, where landscapes inspired by the region of the Var became his preferred subject. By means of pure colour he was able to give free reign to his taste for lyricism and harmony.
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Madonna and Child Enthroned (detail)
Unknown
Vasari mentioned this painting as located in the church San Francesco in Pisa. In 1811, during the Napoaleonic war, it was transferred to Paris. It was restored in 1937-38. The thorought analysis executed before the restoration showed the painting to be in a rather precarious condition: the central figures and the golden background were completely repainted. From the results of the analysis some doubts have been arised concerning the authorship of the painting. Among others it was assumed to be the work of a Sienese painter (perhaps Duccio) after a painting by Cimabue.
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Madonna and Child Enthroned (detail) Madonna and Child Enthroned with Donor
Unknown
Crivelli's painting originally constituted the central section of a polyptych in the parish church at Porto San Giorgio, near Fermi. The crisp, sculptural forms reflect Crivelli's probable training in the humanist center of Padua. Yet the manner in which Crivelli's figures are modeled in light and shade also expresses a broader Renaissance concern with direct observation of nature. The artist's fascination with the use of chiaroscuro to create an illusion of space and tangible substance has created an overall impression of sculptured marble. Note the diminutive donor kneeling in the lower left corner and the crown which, in the order to heighten the illusion of form, has been partly modeled in low relief.
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Madonna and Child Enthroned (detail) Madonna and Child Enthroned with Donor
Unknown
Crivelli's painting originally constituted the central section of a polyptych in the parish church at Porto San Giorgio, near Fermi. The crisp, sculptural forms reflect Crivelli's probable training in the humanist center of Padua. Yet the manner in which Crivelli's figures are modeled in light and shade also expresses a broader Renaissance concern with direct observation of nature. The artist's fascination with the use of chiaroscuro to create an illusion of space and tangible substance has created an overall impression of sculptured marble. Note the diminutive donor kneeling in the lower left corner and the crown which, in the order to heighten the illusion of form, has been partly modeled in low relief.
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Madonna and Child Enthroned (detail) Virgin Enthroned with Angels
Unknown
Vasari mentioned this painting as located in the church San Francesco in Pisa. In 1811, during the Napoaleonic war, it was transferred to Paris. It was restored in 1937-38. The thorought analysis executed before the restoration showed the painting to be in a rather precarious condition: the central figures and the golden background were completely repainted. From the results of the analysis some doubts have been arised concerning the authorship of the painting. Among others it was assumed to be the work of a Sienese painter (perhaps Duccio) after a painting by Cimabue.
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Madonna and Child Enthroned Virgin Enthroned with Angels
Unknown
Vasari mentioned this painting as located in the church San Francesco in Pisa. In 1811, during the Napoaleonic war, it was transferred to Paris. It was restored in 1937-38. The thorought analysis executed before the restoration showed the painting to be in a rather precarious condition: the central figures and the golden background were completely repainted. From the results of the analysis some doubts have been arised concerning the authorship of the painting. Among others it was assumed to be the work of a Sienese painter (perhaps Duccio) after a painting by Cimabue.
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Madonna and Child Enthroned with Saints (Ognissanti Madonna) (detail)
Unknown
Giotto painted this famous altarpiece about 1310 for the church of Ognissanti in Florence: it represents the Madonna enthroned with Child surrounded by angels and saints, an ancient iconographic pattern called Maest
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Madonna and Child Enthroned with Saints (Ognissanti Madonna) (detail)
Unknown
Giotto painted this famous altarpiece about 1310 for the church of Ognissanti in Florence: it represents the Madonna enthroned with Child surrounded by angels and saints, an ancient iconographic pattern called Maest
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Madonna and Child Enthroned with Saints (Ognissanti Madonna) (detail)
Unknown
Giotto painted this famous altarpiece about 1310 for the church of Ognissanti in Florence: it represents the Madonna enthroned with Child surrounded by angels and saints, an ancient iconographic pattern called Maest
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Madonna and Child Enthroned with Saints (Ognissanti Madonna) (detail)
Unknown
Giotto painted this famous altarpiece about 1310 for the church of Ognissanti in Florence: it represents the Madonna enthroned with Child surrounded by angels and saints, an ancient iconographic pattern called Maest
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Madonna and Child Enthroned with Saints (Ognissanti Madonna) (detail)
Unknown
Giotto painted this famous altarpiece about 1310 for the church of Ognissanti in Florence: it represents the Madonna enthroned with Child surrounded by angels and saints, an ancient iconographic pattern called Maest
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Madonna and Child with Saints Catherine and James the Greater
Unknown
Virgin and Child with Saint Catherine
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Madonna and Child with Saints Mary Magdalen and Catherine Sacred Conversation
Unknown
The light, in fact, softly progressing over the faces and garments, strikes from the side of the assorted figures of the Virgin and Saints Catherine and Magdalene, silent companions of the former in sacred contemplation. Also in the characteristic symmetrical composition of all Bellini's sacred conversations, the spreading of a crepuscular and intimate light that tinges the figures is a demonstration of how far ahead Bellini was proceeding in these years in developing the concepts of space and color. The indistinct background, completely lacking any kind of connotation, is just "opened" in depth by the two diagonal wings of the saints which close at the sides the perfect pyramid formed by the group of the Madonna and Child.
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Madonna and Child with St. Nicholas, St. John the Evangelist, St. Peter and St. Benedict Badia Polyptych
Unknown
Giotto's art and evident business shrewdness made him sufficiently prosperous: he married twice, supported eight children and provided handsome marriage settlements for 2 daughters. His most important works are: the frescos in the Capella degli Scrovegni, Padua; the Navicella mosaic in Saint Peter
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Madonna and Child with St. Nicholas, St. John the Evangelist, St. Peter and St. Benedict (detail) Badia Polyptych
Unknown
Saint Nicolas suffered much for his faith until the accession of Emperor Constantine and the proclamation of Christianity as the official Imperial religion. His charisma and zealous assault on the Arian heresy made him an exceptional figure. Two episodes from his rich legend stand out: his giving a dowry to three virgins, thus he saved them from a dishonorable fate of prostitutes, and resurrection of three children (or students, or soldiers) chopped into pieces and thrown into a brine tab by an innkeeper, who wanted to serve them as a meat meal to his guests.
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Madonna and Child with St. Nicholas, St. John the Evangelist, St. Peter and St. Benedict (detail) Badia Polyptych
Unknown
Giotto's art and evident business shrewdness made him sufficiently prosperous: he married twice, supported eight children and provided handsome marriage settlements for 2 daughters. His most important works are: the frescos in the Capella degli Scrovegni, Padua; the Navicella mosaic in Saint Peter
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Madonna of the Holy Trinity (detail) The Madonna in Majesty (Maest
Unknown
The iconography represents the Madonna enthroned with Child and angels. In the lower part are four biblical figures, the prophets Jeremiah and Isaiah under lateral arches, Abraham and King David under the chair of the throne. This Madonna still shows the influence of the Byzantine tradition. There is an unprecedented tension in the profiles and in the attempt to create spatial depth, which is rendered by superimposing the figures and in the concave structure at the base of the throne behind the figures of the prophets. The architectural structure of the throne becomes a sort of robust spatial scheme which creates a three-dimensional effect, while the edges of the painting seem to compress and hold in the bodies.
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Madonna of the Holy Trinity The Madonna in Majesty (Maest
Unknown
The iconography represents the Madonna enthroned with Child and angels. In the lower part are four biblical figures, the prophets Jeremiah and Isaiah under lateral arches, Abraham and King David under the chair of the throne. This Madonna still shows the influence of the Byzantine tradition. There is an unprecedented tension in the profiles and in the attempt to create spatial depth, which is rendered by superimposing the figures and in the concave structure at the base of the throne behind the figures of the prophets. The architectural structure of the throne becomes a sort of robust spatial scheme which creates a three-dimensional effect, while the edges of the painting seem to compress and hold in the bodies.
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Madonna of the Little Trees Madonna and Child
Unknown
Among Venetian artists, Bellini led the way in fostering the style of "tonalism," which gave less importance to design and graphics while highlighting the tones of light and color. By the time Titian was starting his career, the elderly Bellini was breaking new ground again by adding mythological and allegorical scenes to the religious ones that had dominated the art of the fifteenth century.
