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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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.
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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
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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
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 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 Magnificat (detail) Magnificat Madonna
Unknown
With this famous tondo Botticelli represented the Madonna with Child and five angels, in a beautiful composition that emphasize the circular form of the picture. In front of the Virgin there is the book open at the page containing the Magnificat, while two angels are putting on her head a star crown.
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Madonna of the Magnificat (detail) Magnificat Madonna
Unknown
With this famous tondo Botticelli represented the Madonna with Child and five angels, in a beautiful composition that emphasize the circular form of the picture. In front of the Virgin there is the book open at the page containing the Magnificat, while two angels are putting on her head a star crown.
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Madonna of the Magnificat Magnificat Madonna
Unknown
With this famous tondo Botticelli represented the Madonna with Child and five angels, in a beautiful composition that emphasize the circular form of the picture. In front of the Virgin there is the book open at the page containing the Magnificat, while two angels are putting on her head a star crown. The Madonna of the Magnificat is named after the song of praise which Mary sings the first chapter of Luke. When the angel Gabriel announces to Mary that she is pregnant with Jesus, he also tells her that her elderly cousin, Elizabeth, has also been divinely impregnated with a special child, John the Baptist. Mary hastens to Elizabeth's house and is greeted by her thus.
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Madonna of the People (detail) Virgin of the people
Unknown
The fact that he was not in the centre of the cultural world did not stop Barocci from wielding decisive influence, thanks also to the way that he stuck exactly to the Counter-Reformation's tenets on religious art drawn up at the Council of Trent. His compositions had a simple and direct fluidity and included touching details from everyday life. This did not, however, stop him from attempting more ambitious compositions from time to time, such as The Madonna del Popolo (The Virgin of the People) .
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Madonna of the People (detail) Virgin of the people
Unknown
The fact that he was not in the centre of the cultural world did not stop Barocci from wielding decisive influence, thanks also to the way that he stuck exactly to the Counter-Reformation's tenets on religious art drawn up at the Council of Trent. His compositions had a simple and direct fluidity and included touching details from everyday life. This did not, however, stop him from attempting more ambitious compositions from time to time, such as The Madonna del Popolo (The Virgin of the People) .
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Madonna of the People (detail) Virgin of the people
Unknown
Barocci incorporatied the viewer into his circle of foreground figures in the Madonna del Popolo, showing the Virgin Mary presenting the people to Christ. The gestures and poses are elegant and the colors flicker with highlights and shadings. He arranged the figures in bold diagonals, creating a sense of upward motion and spiritual ecstasy. Barocci contrasted the exalted figures of Mary and Jesus with images of humble, everyday people, such as a beggar and a musician. Barocci drew studies for this and other paintings using sticks of dry color called pastels; he was one of the first artists to use this new medium. The composition's emotional draw had a strong impact on Annibale and Lodovico Carracci and many younger painters.
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Madonna of the Victory (painting commemorates the League of Venice's victory over King Charles VIII of France on July 6, 1495)
Unknown
Center with Virgin and Child and Francesco Gonzaga (Margrave of Mantua (1466-1519)
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Madonna of the Victory (painting commemorates the League of Venice's victory over King Charles VIII of France on July 6, 1495)
Unknown
Detail with St. John and St. Elizabeth
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Madonna with Child and Saints Zenobius and Reperata
Unknown
Detail of Madonna and Child front center
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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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Maesta
Unknown
The Madonna appears on the panel as the Queen of the Heaven and Siena. In the foreground the four patron saints of Siena are knneeling: Sts Ansanus, Savinus, Crescentius and Victor. The Latin inscription on the base of the throne contains the name of the painter. The painting ornamented the high altar of the Cathedral of Siena until 1505. Later the predella pictures were separated and the original fame was lost.
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Maesta (detail)
Unknown
In 1308 the city of Siena commissioned Duccio to produce a panel for the cathedral
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Maesta (detail)
Unknown
In 1308 the city of Siena commissioned Duccio to produce a panel for the cathedral
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Maesta (detail)
Unknown
In 1308 the city of Siena commissioned Duccio to produce a panel for the cathedral
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Maesta (verso) (detail)
Unknown
The composition adheres faithfully to the written source and the scene is illustrated in minute detail.
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Maesta (verso) (detail)
Unknown
The episode of the Descent into Hell is not mentioned in the canonical gospels, but recounted in the apocryphal gospel of Nicodemus. It is an iconographic theme little diffused in Western painting, shows clear traces of Byzantine art in the abundant use of gold on Jesus' robe and the unimaginative layout of the scene itself. Having burst open the gates of hell, Christ arrives in limbo to set his forefathers free: while helping Adam to rise, he treads on a hideous Satan, who lies vanquished and blind with rage.
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Maesta (verso) (detail)
Unknown
The emotional intensity of the Stories of the Passion, from Christ Taken Prisoner to the Way to Calvary, reaches its most dramatic moment in the Crucifixion which, placed in the middle of the upper row, dominates the whole of the back section. The slender cross stands out against the gold ground, dividing the crowd into two separate groups. On the left are Christ's followers, subdued and orderly, their faces drawn with grief, amongst whom are Mary of Clopas, Mary Mother of Jesus, Mary Magdalene (dressed in red with her long hair unbound) and John the Evangelist. On the right, the priests and soldiers are shown mocking and insulting, with rough movements.
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Maesta (verso) (detail)
Unknown
An entire compartment is devoted to Pilate's action, although the story is told briefly and only by Matthew. Again, to lend vitality to each single movement, different planes of perspective are superimposed in the scene, both in the figure of Pilate, and in the large group crowding in front of the left pillar. The base of this should be parallel to that of the column next to it, but it is much further back.
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Maesta (verso) (detail)
Unknown
The emotional intensity of the Stories of the Passion, from Christ Taken Prisoner to the Way to Calvary, reaches its most dramatic moment in the Crucifixion which, placed in the middle of the upper row, dominates the whole of the back section. The slender cross stands out against the gold ground, dividing the crowd into two separate groups. On the left are Christ's followers, subdued and orderly, their faces drawn with grief, amongst whom are Mary of Clopas, Mary Mother of Jesus, Mary Magdalene (dressed in red with her long hair unbound) and John the Evangelist. On the right, the priests and soldiers are shown mocking and insulting, with rough movements.
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Maesta (verso) (detail)
Unknown
The Deposition, (excluding any possibility of distraction), is represented as intense embracing. Joseph of Arimathaea and John support the lifeless body, while Nicodemus removes the nails from the feet and the Virgin reaches out yearningly to her son, looking into his closed eyes. One of the Marys holds Christ's arm to her face, while the others, their hands covered by their veils, are tragic masks of grief. The little stream of blood under the cross, also present in the previous scene, has a dramatic realism.
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Maesta (verso) (detail)
Unknown
The main element of the verso consisted of fourteen panels. .Except for the Entry into Jerusalem and the Crucifixion, each panel contains two episodes. The central part of the lower row with the Agony in the Garden and Christ taken Prisoner is twice as wide as the other compartments (but the same as the Crucifixion panel) because the events portrayed are composed of different narrative units.Numerous contrasting theories have been advanced by critics for the order of interpretation, rendered problematical by the variety of New Testament sources drawn on by Duccio. It is certain that the cycle began at the bottom left and ended at the top right, proceeding from left to right first on the lower row and then on the upper.
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Maesta (verso) (detail)
Unknown
The Deposition, (excluding any possibility of distraction), is represented as intense embracing. Joseph of Arimathea and John support the lifeless body, while Nicodemus removes the nails from the feet and the Virgin reaches out yearningly to her son, looking into his closed eyes. One of the Mary's holds Christ's arm to her face, while the others, their hands covered by their veils, are tragic masks of grief. The little stream of blood under the cross, also present in the previous scene, has a dramatic realism.
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Maison Carrée, Exterior Details, B
Unknown
Corinthian column capitals, entablature, cornices, and pediment from east-northeast
