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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Apotheosis of Homer (detail)
Unknown
The Apotheosis of Homer, which hung in the same 1827 Salon as Delacroix's Death of Sarda-napalus, is the largest of Ingres's Raphaelesque paintings, but is no nearer to pastiche than any of the others. This modern version of Raphael's Parnassus not only proclaimed the stylistic values of the classical tradition but also tried to equal the iconography of The School of Athens in its reunion of great men of ancient and modern times in the realms of literature and the arts.
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Apotheosis of Homer (detail)
Unknown
The Apotheosis of Homer, which hung in the same 1827 Salon as Delacroix's Death of Sarda-napalus, is the largest of Ingres's Raphaelesque paintings, but is no nearer to pastiche than any of the others. This modern version of Raphael's Parnassus not only proclaimed the stylistic values of the classical tradition but also tried to equal the iconography of The School of Athens in its reunion of great men of ancient and modern times in the realms of literature and the arts.
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Apotheosis of Homer (detail)
Unknown
The Apotheosis of Homer, which hung in the same 1827 Salon as Delacroix's Death of Sarda-napalus, is the largest of Ingres's Raphaelesque paintings, but is no nearer to pastiche than any of the others. This modern version of Raphael's Parnassus not only proclaimed the stylistic values of the classical tradition but also tried to equal the iconography of The School of Athens in its reunion of great men of ancient and modern times in the realms of literature and the arts.
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Apotheosis of Homer (detail)
Unknown
The Apotheosis of Homer, which hung in the same 1827 Salon as Delacroix's Death of Sarda-napalus, is the largest of Ingres's Raphaelesque paintings, but is no nearer to pastiche than any of the others. This modern version of Raphael's Parnassus not only proclaimed the stylistic values of the classical tradition but also tried to equal the iconography of The School of Athens in its reunion of great men of ancient and modern times in the realms of literature and the arts.
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Apotheosis of Homer (detail)
Unknown
The Apotheosis of Homer, which hung in the same 1827 Salon as Delacroix's Death of Sarda-napalus, is the largest of Ingres's Raphaelesque paintings, but is no nearer to pastiche than any of the others. This modern version of Raphael's Parnassus not only proclaimed the stylistic values of the classical tradition but also tried to equal the iconography of The School of Athens in its reunion of great men of ancient and modern times in the realms of literature and the arts.
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Apple Trees in Blossom
Unknown
As the 1870s began, Monet continued his pursuit of natural phenomena. In order to avoid the Franco-German War, he left his son and Camille, whom he had just married, and traveled to London. There, with Pissarro, he was introduced by Daubigny to Paul Durand-Ruel, who was to become his dealer. In 1871 and 1872 he painted canals, boats, and windmills in The Netherlands and worked again at Le Havre.
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Apple Trees in Blossom (detail)
Unknown
As the 1870s began, Monet continued his pursuit of natural phenomena. In order to avoid the Franco-German War, he left his son and Camille, whom he had just married, and traveled to London. There, with Pissarro, he was introduced by Daubigny to Paul Durand-Ruel, who was to become his dealer. In 1871 and 1872 he painted canals, boats, and windmills in The Netherlands and worked again at Le Havre.
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Aqueduct of Emperor Valens (r.364-378). 26.5m high at highest point
Unknown
Closer view of one arch, showing brickword
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Ara Pacis Augustae
Unknown
Second panel of left long side: Senators and high magistrates. The central veiled figure may be the "pontifex maximus"
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Ara Pacis Augustae
Unknown
Det: Imperial Procession,with the "flamines" at the left, Agrippa at center
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Ara Pacis Augustae
Unknown
Third panel of left long side (with part of heavily damaged fourth panel). All high-reliefs are of modern time
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Ara Pacis Augustae
Unknown
Close det: the lictor proximus, Augustus (w arm outstretched), flanked by two consuls for the year 13 BC (one of whom would have been Tiberius)
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Ara Pacis Augustae
Unknown
Close detail: Antonia minor, Drusus and Germanicus, Antonia major & Lucius Domitius Ahenobarbus w. their children
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Ara Pacis Augustae
Unknown
General view of long side: Imperial Procession, meander frieze and lavish acanthus dado
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Ara Pacis Augustae
Unknown
Sacrifice of Aeneas (as a bearded man) from the entrance side. With decorative pilaster, acanthus dado, and meander frieze
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Ara Pacis Augustae
Unknown
First panel (closest to entrance on the long side): two lictors leading the procession, senators and a veiled high priest
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Arco Foscari, Triumphal Arch facing the Scala dei Giganti, Courtyard of Doge's Palace (1608-15)
Unknown
Detail view of courtyard fatade w. Baroque clock
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Arco Foscari, Triumphal Arch facing the Scala dei Giganti, Courtyard of Doge's Palace (1608-15)
Unknown
Detail view of crowning pinnacles from S
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Arco Foscari, Triumphal Arch facing the Scala dei Giganti, Courtyard of Doge's Palace (1608-15)
Unknown
General view of S fatade and courtyard facade of Doge's Palace (early 17th c)
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Arco Foscari, Triumphal Arch facing the Scala dei Giganti, Courtyard of Doge's Palace (1608-15)
Unknown
Total view of S fatade w. statue of Condottiere Francesco Maria I delle Rovere (1490-1538) by G. Bandini
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Arco Foscari, Triumphal Arch facing the Scala dei Giganti, Courtyard of Doge's Palace (1608-15)
Unknown
Overall diagonal view from gallery of the palace
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Ares and Aphrodite as Lovers (detail) Venus and Mars
Unknown
Several works from the buried city of Pompeii depict the goddess and her associates. The house where this is located is now named the "House of Venus". Venus sitting close to her lover, the god of war Mars; she is holding his spear while the little Cupid below tries on his warrior's helmet. Mars unwraps Venus' dress, while cupids play with Mars' armor.
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Ares and Aphrodite as Lovers (detail) Venus and Mars
Unknown
Several works from the buried city of Pompeii depict the goddess and her associates. The house where this is located is now named the "House of Venus". Venus sitting close to her lover, the god of war Mars; she is holding his spear while the little Cupid below tries on his warrior's helmet. Mars unwraps Venus' dress, while cupids play with Mars' armor.
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Ares, Aphrodite, Artemis, Apollo and Zeus Watching the Trojan War
Unknown
Overall view from front center
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Ares, Aphrodite, Artemis, Apollo and Zeus Watching the Trojan War
Unknown
Greeks and Trojans in battle
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Ascent of St. John the Evangelist into Heaven Ascension of St John the Evangelist
Unknown
Giotto is regarded as the founder of the central tradition of Western painting because his work broke free from the stylizations of Byzantine art, introducing new ideals of naturalism and creating a convincing sense of pictorial space. The decoration of the Peruzzi Chapel in Santa Croce was probably carried out not long after the works in the Lower Curch at Assisi. Unfortunately, the Peruzzi cycle was extensively repainted, and what remains of the original frescoes, revealed during a recent restoration is in a bad state of preservation. There is still much controversy over the dating of this chapel and that of the Bardi family adjoining it, the probable date is between 1315-1320.
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Ascent of St. John the Evangelist into Heaven Ascension of St John the Evangelist
Unknown
Giotto is regarded as the founder of the central tradition of Western painting because his work broke free from the stylizations of Byzantine art, introducing new ideals of naturalism and creating a convincing sense of pictorial space. The decoration of the Peruzzi Chapel in Santa Croce was probably carried out not long after the works in the Lower Curch at Assisi. Unfortunately, the Peruzzi cycle was extensively repainted, and what remains of the original frescoes, revealed during a recent restoration is in a bad state of preservation. There is still much controversy over the dating of this chapel and that of the Bardi family adjoining it, the probable date is between 1315-1320.
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Assumption of the Virgin, 1580s? central panel, ceiling of Cappella del Rosario. Venice, Ss. Giovanni e Paolo
Unknown
Assumption (Veronese), carved ceiling (Vittoria)
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Assumption of the Virgin, 1580s? central panel, ceiling of Cappella del Rosario. Venice, Ss. Giovanni e Paolo
Unknown
Total, restored in 1958
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Atala Carried to the Grave Burial of Atala
Unknown
In this scene, Atala's beloved American Indian lover
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Atala Carried to the Grave (detail) Burial of Atala
Unknown
"Whosoever had not known that this young maiden had once enjoyed the light of day would have taken her for a statue of virginity asleep," wrote Fran
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Athena from pediment of the Gigantomachy of the "Old Temple" on the Akropolis
Unknown
Detail of head from below
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Athena from pediment of the Gigantomachy of the "Old Temple" on the Akropolis
Unknown
Upper body detail
