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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Motherhood at the Window (detail)
Unknown
Maurice Denis had nine children with his two successive wives. His life was the exaltation of the Christian family. From the birth of his first child in 1894, he does not cease painting motherhood.. These works testify to the roots of his happiness in Brittany where it spendshis holidays. The members of his family are for the painter the actors of scenes religious or mythological which he translates.
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Motif from Arles
Unknown
In 1874 he saw the first Impressionist exhibition, which completely entranced him and confirmed his desire to become a painter. He spent some 17,000 francs on works by Manet, Monet, Sisley, Pissarro, Renoir and Guillaumin. Pissarro took a special interest in his attempts at painting, emphasizing that he should `look for the nature that suits your temperament', and in 1876 Gauguin had a landscape in the style of Pissarro accepted at the Salon.
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Motif from Arles (detail)
Unknown
In 1874 he saw the first Impressionist exhibition, which completely entranced him and confirmed his desire to become a painter. He spent some 17,000 francs on works by Manet, Monet, Sisley, Pissarro, Renoir and Guillaumin. Pissarro took a special interest in his attempts at painting, emphasizing that he should `look for the nature that suits your temperament', and in 1876 Gauguin had a landscape in the style of Pissarro accepted at the Salon.
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Napoleon Visiting the Plague-Stricken at Jaffa, 1799
Unknown
Close-up of Napoleon Touching Pest-Stricken
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Netherlandish Proverbs
Unknown
Netherlandish Proverbs, or the Blue Cloak as it is sometimes called, includes visual representations of perhaps more than 90 individual proverbs. The precise number of proverbs remains somewhat uncertain because modern scholarly interpretations vary and, in some case, more than one proverb might be assigned to the same component in the painting.
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Netherlandish Proverbs (detail)
Unknown
Pieter Bruegel the Elder developed an original style that uniformly holds narrative, or story-telling, meaning. In subject matter he ranged widely, from conventional Biblical scenes and parables of Christ to such mythological portrayals as Landscape with the Fall of Icarus; religious allegories in the style of Hieronymus Bosch; and social satires. Popular in his own day, his works have remained consistently popular.
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Netherlandish Proverbs (detail)
Unknown
Pieter Bruegel the Elder developed an original style that uniformly holds narrative, or story-telling, meaning. In subject matter he ranged widely, from conventional Biblical scenes and parables of Christ to such mythological portrayals as Landscape with the Fall of Icarus; religious allegories in the style of Hieronymus Bosch; and social satires. Popular in his own day, his works have remained consistently popular.
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Netherlandish Proverbs (detail)
Unknown
Pieter Bruegel the Elder developed an original style that uniformly holds narrative, or story-telling, meaning. In subject matter he ranged widely, from conventional Biblical scenes and parables of Christ to such mythological portrayals as Landscape with the Fall of Icarus; religious allegories in the style of Hieronymus Bosch; and social satires. Popular in his own day, his works have remained consistently popular.
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Netherlandish Proverbs (detail)
Unknown
Pieter Bruegel the Elder developed an original style that uniformly holds narrative, or story-telling, meaning. In subject matter he ranged widely, from conventional Biblical scenes and parables of Christ to such mythological portrayals as Landscape with the Fall of Icarus; religious allegories in the style of Hieronymus Bosch; and social satires. Popular in his own day, his works have remained consistently popular.
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Netherlandish Proverbs (detail)
Unknown
Pieter Bruegel the Elder developed an original style that uniformly holds narrative, or story-telling, meaning. In subject matter he ranged widely, from conventional Biblical scenes and parables of Christ to such mythological portrayals as Landscape with the Fall of Icarus; religious allegories in the style of Hieronymus Bosch; and social satires. Popular in his own day, his works have remained consistently popular.
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Netherlandish Proverbs (detail)
Unknown
Pieter Bruegel the Elder developed an original style that uniformly holds narrative, or story-telling, meaning. In subject matter he ranged widely, from conventional Biblical scenes and parables of Christ to such mythological portrayals as Landscape with the Fall of Icarus; religious allegories in the style of Hieronymus Bosch; and social satires. Popular in his own day, his works have remained consistently popular.
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Netherlandish Proverbs (detail)
Unknown
Pieter Bruegel the Elder developed an original style that uniformly holds narrative, or story-telling, meaning. In subject matter he ranged widely, from conventional Biblical scenes and parables of Christ to such mythological portrayals as Landscape with the Fall of Icarus; religious allegories in the style of Hieronymus Bosch; and social satires. Popular in his own day, his works have remained consistently popular.
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Neue Staatsgalerie Stuttgart
Unknown
Exterior view of curving glass wall that defines main reception hall
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Neue Staatsgalerie Stuttgart
Unknown
View W from the ramp, with entrance pavilion, glass wall and old building
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Neue Staatsgalerie Stuttgart
Unknown
View north from inside circular court toward ramp and entrance pavilion
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Neue Staatsgalerie Stuttgart
Unknown
View W, with principal entrance to the gallery. Terrace with Henry Moore sculpture
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Neue Staatsgalerie Stuttgart
Unknown
Detail of stairs and architecture leading into circular court from W
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Neue Staatsgalerie Stuttgart
Unknown
southeast side of circular court, with arches and Neoclassical sculpture
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Noli me Tangere
Unknown
Untempted by Rome, Florence or Venice, Correggio, working in the North Italian city of Parma, maintained his originality throughout the High Renaissance and became one of the most important influences on seventeenth-century Baroque painting. However, he was receptive to the art particularly of Raphael and Leonardo: his sense of ideal beauty and the structure of his compositions owe much to Raphael, while his handling of textures and light presupposes Leonardo. In this work he uses a pyramidal composition of classic High Renaissance kind and a diagonal movement anticipating the Baroque. The beautiful landscape evokes the light of dawn, the time when Mary Magdalene met Christ by the tomb.
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Noli me Tangere (detail)
Unknown
Untempted by Rome, Florence or Venice, Correggio, working in the North Italian city of Parma, maintained his originality throughout the High Renaissance and became one of the most important influences on seventeenth-century Baroque painting. However, he was receptive to the art particularly of Raphael and Leonardo: his sense of ideal beauty and the structure of his compositions owe much to Raphael, while his handling of textures and light presupposes Leonardo. In this work he uses a pyramidal composition of classic High Renaissance kind and a diagonal movement anticipating the Baroque. The beautiful landscape evokes the light of dawn, the time when Mary Magdalene met Christ by the tomb.
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Noli me Tangere (detail)
Unknown
Untempted by Rome, Florence or Venice, Correggio, working in the North Italian city of Parma, maintained his originality throughout the High Renaissance and became one of the most important influences on seventeenth-century Baroque painting. However, he was receptive to the art particularly of Raphael and Leonardo: his sense of ideal beauty and the structure of his compositions owe much to Raphael, while his handling of textures and light presupposes Leonardo. In this work he uses a pyramidal composition of classic High Renaissance kind and a diagonal movement anticipating the Baroque. The beautiful landscape evokes the light of dawn, the time when Mary Magdalene met Christ by the tomb.
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North half of the Theater at the apex of the ancient mountainous city
Unknown
The Theater diagonally toward the stage. view southeast
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North half of the Theater at the apex of the ancient mountainous city
Unknown
Southern half of the Theater at the apex of city. View southeast
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North half of the Theater at the apex of the ancient mountainous city
Unknown
The E wall of the Theater. view S
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North half of the Theater at the apex of the ancient mountainous city
Unknown
General view of the Theater interior. view S
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North half of the Theater at the apex of the ancient mountainous city
Unknown
View of the slope and ruins E of the Theater. view S
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Nude Woman with Pink Dress
Unknown
Bonnard is indeed a visually complex artist, whose constant experimenting with peculiar compositional schemes--especially his habit of concealing figures on the margins of his paintings--requires patient and prolonged viewing. Picasso's paintings grab you by the throat; Bonnard's paintings dawn on you. They are "adventures of the optic nerve," as Bonnard calls them.
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Nude Woman with Pink Dress (detail)
Unknown
Bonnard is indeed a visually complex artist, whose constant experimenting with peculiar compositional schemes--especially his habit of concealing figures on the margins of his paintings--requires patient and prolonged viewing. Picasso's paintings grab you by the throat; Bonnard's paintings dawn on you. They are "adventures of the optic nerve," as Bonnard calls them.
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Oath of the Horatii
Unknown
The three brothers, the Horatii, chosen by Rome to defy the champions of the town of Alba called the Curiaces, are taking an oath that they will win or die and are receiving swords from their father. Like Corneille in his tragedy "Horace", David contrasts the stoic resolution of the warriors, underlined by strict geometry and strident color, with the gentle line of the women which expresses their suffering. Painted in 1784 and shown in Paris the following year, this painting earned David a European reputation as uncontested leader of the Neoclassical movement.
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Oath of the Horatii (detail)
Unknown
The three brothers, the Horatii, chosen by Rome to defy the champions of the town of Alba called the Curiaces, are taking an oath that they will win or die and are receiving swords from their father. Like Corneille in his tragedy "Horace", David contrasts the stoic resolution of the warriors, underlined by strict geometry and strident color, with the gentle line of the women which expresses their suffering. Painted in 1784 and shown in Paris the following year, this painting earned David a European reputation as uncontested leader of the Neoclassical movement.
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Oath of the Horatii (detail)
Unknown
The three brothers, the Horatii, chosen by Rome to defy the champions of the town of Alba called the Curiaces, are taking an oath that they will win or die and are receiving swords from their father. Like Corneille in his tragedy "Horace", David contrasts the stoic resolution of the warriors, underlined by strict geometry and strident color, with the gentle line of the women which expresses their suffering. Painted in 1784 and shown in Paris the following year, this painting earned David a European reputation as uncontested leader of the Neoclassical movement.
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Officer Reading a Letter
Unknown
One of the greatest Dutch masters of the Golden Age, Gerard ter Borch, is the artist who first popularized the letter theme. His painting of '' Officer Reading a Letter" is considered the "perfect embodiment of this elegant new treatment of the letter theme."
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Old Man with a Young Boy (detail) Portrait of an Old man with a Young Boy
Unknown
Ghirlandaio is best known for his frescoes, in which he often set religious subjects in a secular setting and in which he included recognizable portraits. His largest commission, completed in 1490, depicting scenes from the lives of the Virgin and St John the Baptist, was in the Santa Maria Novella, Florence. Ironically, in An Old Man and his Grandson, one of his best works, the identity of the protagonists remains a mystery. This naturalistic double portrait is an intimate and moving portrayal of a tender relationship between doting age and attendant youth. The loving young boy is oblivious to the old man's unfortunate physiognomy, a symptom of rhinophyma, from which he suffered.
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Old Man with a Young Boy (detail) Portrait of an Old man with a Young Boy
Unknown
Ghirlandaio is best known for his frescoes, in which he often set religious subjects in a secular setting and in which he included recognizable portraits. His largest commission, completed in 1490, depicting scenes from the lives of the Virgin and St John the Baptist, was in the Santa Maria Novella, Florence. Ironically, in An Old Man and his Grandson, one of his best works, the identity of the protagonists remains a mystery. This naturalistic double portrait is an intimate and moving portrayal of a tender relationship between doting age and attendant youth. The loving young boy is oblivious to the old man's unfortunate physiognomy, a symptom of rhinophyma, from which he suffered.
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Old Man with a Young Boy (detail) Portrait of an Old man with a Young Boy
Unknown
Ghirlandaio is best known for his frescoes, in which he often set religious subjects in a secular setting and in which he included recognizable portraits. His largest commission, completed in 1490, depicting scenes from the lives of the Virgin and St John the Baptist, was in the Santa Maria Novella, Florence. Ironically, in An Old Man and his Grandson, one of his best works, the identity of the protagonists remains a mystery. This naturalistic double portrait is an intimate and moving portrayal of a tender relationship between doting age and attendant youth. The loving young boy is oblivious to the old man's unfortunate physiognomy, a symptom of rhinophyma, from which he suffered.
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On the Beach: Mme E. Manet, Eugene Manet (wife and brother of the painter)
Unknown
Artist's brother, brushwork
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On the Beach: Mme E. Manet, Eugene Manet (wife and brother of the painter)
Unknown
Artist's wife, brushwork
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Orchestra of the Opera (detail) The Orchestra at the Opera House
Unknown
Both Edgar Degas and Henri Toulouse-Lautrec used the same bassoonist, D
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Painted Chest, from Tomb of Tutankhamen
Unknown
Total of long side. On panels: king--in chariot, attacking his enemies
