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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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.
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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 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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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 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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Left Giant from pediment of the Gigantomachy of the "Old Temple" on the Acropolis
Unknown
Overall view
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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 tricolor 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 tricolor 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 tricolor 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 tricolor 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 Carrée, Wing of Henri II
Unknown
View of upper central façade 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
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
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
Roman trumpeter & barbarian swordsman (front, top 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
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
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
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
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
Roman soldier holding bound barbarian by his beard (front, left side in middle)
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Luncheon in the Studio After Coffee: in the Studio
Unknown
In October 28, 1863, Manet married Suzanne Leenhoff in Holland.
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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 color 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 color 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 color 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 Napoleonic war, it was transferred to Paris. It was restored in 1937-38. The thorough 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 raised 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
