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.
-
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.
-
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.
-
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.
-
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) .
-
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) .
-
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.
-
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)
-
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
-
Madonna with Child and Saints Zenobius and Reperata
Unknown
Detail of Madonna and Child front center
-
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.
-
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.
-
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.
-
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.
-
Madonna with St. Peter and Saint Sabastion La Vierge et l'Enfant entre saint Pierre et saint S
Unknown
The painting is signed as "IOANNES BELLINVS". Earlier it was attributed to Basaiti, presently the attribution to Bellini is universally accepted.
-
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.
-
Maesta (detail)
Unknown
In 1308 the city of Siena commissioned Duccio to produce a panel for the cathedral
-
Maesta (detail)
Unknown
In 1308 the city of Siena commissioned Duccio to produce a panel for the cathedral
-
Maesta (detail)
Unknown
In 1308 the city of Siena commissioned Duccio to produce a panel for the cathedral
-
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.
-
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.
-
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.
-
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.
-
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.
-
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.
-
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.
-
Maesta (verso) (detail)
Unknown
The composition adheres faithfully to the written source and the scene is illustrated in minute detail.
-
Markets of Trajan
Unknown
View NE from Basilica Ulpia (1998). Medieval Torre della Milizie (tower) in background, 1227-41
-
Marriage Feast at Cana
Unknown
Close-up: Oriental potentate, lady picking her teeth, table still-life
-
Mary Magdalen Altar: Mary Magdalen at center, St. Philip at left, St. Andrew at right
Unknown
St. Andrew, from front right
-
Mary Magdalen Altar: Mary Magdalen at center, St. Philip at left, St. Andrew at right
Unknown
St. Philip and Mary Magdalen, from front right
-
Mary Magdalen Altar: Mary Magdalen at center, St. Philip at left, St. Andrew at right
Unknown
Closer view of altar with God the Father above
-
Mary Magdalen Altar: Mary Magdalen at center, St. Philip at left, St. Andrew at right
Unknown
Overall view of altar with figures
-
Mme. Mette Gauguin Seated in an Armchair (detail) Madame Mette Gauguin in Evening Dress
Unknown
Gauguin's break with the Impressionists came when he painted "Vision after the Sermon," where he tried to depict the inner feelings of his subjects. This painting also marked the start of a new painting style that came to be known as "Symbolism." Although this period had been highly productive for Gauguin, he was deeply depressed and in 1891 abandoned his family to seek an idyllic life in the South Pacific Islands.
-
Mme. Mette Gauguin Seated in an Armchair Madame Mette Gauguin in Evening Dress
Unknown
Gauguin's break with the Impressionists came when he painted "Vision after the Sermon," where he tried to depict the inner feelings of his subjects. This painting also marked the start of a new painting style that came to be known as "Symbolism." Although this period had been highly productive for Gauguin, he was deeply depressed and in 1891 abandoned his family to seek an idyllic life in the South Pacific Islands.
