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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Pallas and the Centaur (detail)
Unknown
According to Humanist symbolism: wisdom (Pallas) overcomes instinct (the centaur), concluding the conceptual definition of Humanitas present in the other two allegories. A Roman sarcophagus inspired the face of the centaur.
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Panorama NE from Forte di Belvedere twoard Fiesole and surrounding hills. Towers of Badia and Bargello visible. (1987)
Unknown
View NE towards Fiesole w. Towers of Badia and Bargello
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Panorama N from Forte di Belvedere toward Uffizi, Palazzo Vecchio and Duomo
Unknown
View N toward Uffizi, Palazzo Vecchio w. Medici tombs dome
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Panorama of Athens from Areopagus Rock at sunset
Unknown
View of W end of Acropolis w. Quadriga of Agrippa, Propylaea, Temple of Athena Nike
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Panorama of Athens from Areopagus Rock at sunset
Unknown
Closer view of pedestal of the Quadriga of Agrippa, the Propylaea, Temple of Athena Nike
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Panorama of Athens from Philapappus Hill
Unknown
View NE of W end of Acropolis w. the Propylaea, Parthenon and Odeon of Herodus Atticus
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Panorama of Athens from Philopappus Hill
Unknown
View NE of Acropolis w. Odeon of Herodus Atticus below
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Panorama of Athens from the Acropolis
Unknown
View SW of Phiopappus Hill w. excavations at base of Acropolis
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Panorama of Athens from the Acropolis
Unknown
View of the Agora, Temple of Hephaistos and Byzantine Church
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Panorama of Florence from Boboli Gardens
Unknown
View of 'Vittolone' Fountain (by Francesco del Tadda, 16th c.) in Boboli Gardens w. Pitti Palace
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Panorama of Florence from Campanile
Unknown
View towards San Lorenzo complex w. Duomo fatade (right)
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Panorama of Florence from Forte di Belvedere
Unknown
View NE of Church of Santa Croce w. dome of Synagogue (left)
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Panorama of Florence from Forte di Belvedere
Unknown
View N of Duomo, Palazzo Vecchio and Palazzo degli Uffizi
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Panorama of Florence from Forte di Belvedere
Unknown
Closer view of Duomo, Palazzi Vecchio and Uffizi
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Panorama of Florence from Forte di Belvedere
Unknown
View E w. Church of San Miniato al Monte, hills, suburban development
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Panorama of Florence from the Duomo
Unknown
View through the lantern of Brunelleschi's dome towards S. Croce
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Panorama of Florence from the Palazzo degli Uffizi
Unknown
View of Piazza della Signoria and the Bargello
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Panorama of Florenc from Forte di Belvedere
Unknown
View of San Miniato al Monte w. hills and suburban villas
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Panorama of San Gimignano
Unknown
View N along Via San Giovanni of Torre Grosso and Palazzo del Popolo (begun 1300)
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Panorama of San Gimignano
Unknown
View of courtyard and masonry walls of Palazzo del Popolo (now Museo Civico)
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Panorama of San Gimignano
Unknown
View of Porta San Giovanni (1262), Torre Grosso and Palazzo del Popolo (begun 1300)
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Panorama of San Gimignano from Palazzo del Popolo
Unknown
Closer view of Piazza w. raking view of cathedral fatade at left
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Panorama of San Gimignano from Palazzo del Popolo
Unknown
View of Piazza della Cisterna w. Cisterna and Torre Grosso
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Panorama of San Gimignano from Palazzo del Popolo
Unknown
View N of Duomo (Collegiata) fatade and towers of Piazza del Duomo
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Panorama of San Gimignano from Palazzo del Popolo
Unknown
View N of Piazza del Duomo w. Cathedral fatade
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Panorama of San Gimignano from Palazzo del Popolo
Unknown
Closer view of the Cisterna and Torre Grosso
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Panorama of San Gimignano from the Torre Grosso of Palazzo del Popolo
Unknown
Aerial view of Piazza della Cisterna
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Panorama of San Gimignano from Torre Grosso
Unknown
View of houses and towers on N end of Piazza del Duomo
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Panorama of Venice
Unknown
View NE of Campo Santa Maria Formosa w. Palazzo Priuli-Ruzzini (Bart. Monopola, ca. 1580)
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Panorama of Venice
Unknown
View NW of Clock Tower, Madonna dell'Orte (left) and Church of Gesuits (right)
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Panorama of Venice
Unknown
View NE of San Marco and Palazzo Patriarcale w. S. Maria Formosa and S. Zanipolo
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Panorama of Venice from the Campanile
Unknown
View SW towards S. Maria Salute, Il Redentore and the sea
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Pastoral Concert (F Concert champ
Unknown
The scenery is characterized by a duality. Between the elegant, slim trees on the left, we see a multi-levelled villa, while on the right, in a lush grove, we see a shepherd playing a bagpipe. Yet the effect is completely unified. The very presence of the beautiful, mature Muses provides inspiration; the harmony of scenery and figures, colours and forms proclaims the close interrelationship between man and nature, poetry and music.
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Pastoral Concert (F Concert champ
Unknown
The female figures in the foreground are the Muses of poetry, their nakedness reveals their divine being. The standing figure pouring water from a glass jar represents the superior tragic poetry, while the seated one holding a flute is the Muse of the less prestigious comedy or pastoral poetry. The well-dressed youth who is playing a lute is the poet of exalted lyricism, while the bareheaded one is an ordinary lyricist. The painter based this differentiation on Aristotle's "Poetica".
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Pastoral Concert (F Concert champ
Unknown
The painting has been interpreted as an allegory of Nature, similar to Giorgione's Storm, which was undeniably painted by him; it was even viewed as the first example of the modern herdsman genre. Its message must be more complex than this. It is likely that the master consciously unified several themes in this painting, and the deciphering of symbols required a degree of erudition even at the time of its creation. During the eighteenth century the painting was known by the simple name of "Pastorale" and only subsequently was it given the title "F
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Pauline Bonaparte-Borghese as Venus
Unknown
Total figure from left center (showing curved back, drapery)
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Pazzi Chapel (built as a Chapter House)
Unknown
Total from front center in courtyard of Santa Croce (1998)
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Pazzi Chapel (built as a Chapter House)
Unknown
Sanctuary detail: frieze, pilaster capital, terracotta medallion of St. John (1998)
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Pazzi Chapel (built as a Chapter House)
Unknown
View up into dome of the narthex, terracotta by Luca della Robbia (1998)
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Peplos Kore (with traces of color)
Unknown
Statue of a maiden. She takes her name from the heavy wool garment which she wears over her chiton (only the hem of the chiton is visible)The simplicity of her dress is particularly noteworthy since by this time (the early 520's) the many other korai dedicated on the Acropolis invariably wear the more elaborate Ionic himation. It has been suggested that she should be separated from the series of maidens who were dedications to Athena. her costume is deliberately old-fashioned and that her rigidity and four-squareness, in striking contrast to the developed plasticity and swelling contours of her body, can best be understood as an allusion to an archaic statue.
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Peplos Kore (with traces of color)
Unknown
The face is characterized by an interest in converging planes. The eyes and mouth occupy hollows which emphasize these features, separated by strongly protruding cheeks and a broad nose. The details are so close to the face of the Rampin Horseman that the two are often attributed to the same sculptor. If true, she must be one of his late works, for she is stylistically much advanced. The mouth, though retaining the up-lifted corners of an archaic smile, is now much softer, more relaxed, less triangular in form. The more developed form of the eyes corresponds to the equally developed forms of the body. Stylistically she is more advanced than the caryatids from Delphi and is approximately contemporary with the Siphnian Treasury there.
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'Peplos' Kore (with traces of color)
Unknown
The face is characterized by an interest in converging planes. The eyes and mouth occupy hollows which emphasize these features, separated by strongly protruding cheeks and a broad nose. The details are so close to the face of the Rampin Horseman that the two are often attributed to the same sculptor. If true, she must be one of his late works, for she is stylistically much advanced. The mouth, though retaining the up-lifted corners of an archaic smile, is now much softer, more relaxed, less triangular in form. The more developed form of the eyes corresponds to the equally developed forms of the body.
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Perseus Trampling Medusa and Exhibiting Her Severed Head
Unknown
Full length figure from left lower front
