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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Piazza S. Trinita
Unknown
View of ancient Roman column (fr. Baths of Caracalla) and Justice, medieval Pal. Spini-Feroni (1289)
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Plain Near Auvers (detail)
Unknown
In Auvers, Van Gogh choose to paint a large number of landscapes on canvases . A letter to Theo describes the sadness and loneliness he wished these paintings to express, but also his desire to show how 'healthy and heartening' he found the countryside.
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Planers of Parquet Floor (detail) The Floor Scrapers
Unknown
Upon his untimely death in 1894 at the age of 46, Gustave Caillebotte willed to the Louvre, paintings on the highest level, by his friends the artists: Edouard Manet, Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Paul Cezanne, Camille Pissarro, Alfred Sisley, and Berthe Morisot. To its shame The Louvre caved in to the power of the Salon, local artworld politics that brought pressure to bear against the bequest and refused to accept the paintings, thus depriving itself to this day of the single greatest collection of Impressionist paintings in the world. To its credit eventually the Louvre agreed to accept part of the bequest. (Ronnie Landfield)....via Caillebotte's heirs through the intermediary of Auguste Renoir.
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Planers of Parquet Floor The Floor Scrapers
Unknown
Upon his untimely death in 1894 at the age of 46, Gustave Caillebotte willed to the Louvre, paintings on the highest level, by his friends the artists: Edouard Manet, Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Paul Cezanne, Camille Pissarro, Alfred Sisley, and Berthe Morisot. To its shame The Louvre caved in to the power of the Salon, local artworld politics that brought pressure to bear against the bequest and refused to accept the paintings, thus depriving itself to this day of the single greatest collection of Impressionist paintings in the world. To its credit eventually the Louvre agreed to accept part of the bequest. (Ronnie Landfield)....via Caillebotte's heirs through the intermediary of Auguste Renoir.
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Ploughing in Nivernais (detail)
Unknown
Bonheurrepresents animals as they really are, as she saw them in the country. Her gift of accurate observation was, however, allied to a certain dryness of style in painting; she often failed to give a perfect sense of atmosphere. On the other hand, the anatomy of her animals is always faultlessly true. There is nothing feminine in her handling; her treatment is always manly and firm. Nivernais was a formerly a province of central France near the city of Nevers.
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Ploughing in the Nivernais Region (detail)
Unknown
Bonheur's informed and sympathetic pictures of animal life were remarkably enlightened in approach. They gained her wide popularity, particularly in England and America, where much of her work is to be seen. Bonheur's informed and sympathetic pictures of animal life were remarkably enlightened in approach. They gained her wide popularity, particularly in England and America, where much of her work is to be seen.
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Ploughing in the Nivernais Region (detail)
Unknown
Bonheur's informed and sympathetic pictures of animal life were remarkably enlightened in approach. They gained her wide popularity, particularly in England and America, where much of her work is to be seen. Bonheur's informed and sympathetic pictures of animal life were remarkably enlightened in approach. They gained her wide popularity, particularly in England and America, where much of her work is to be seen.
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Polychrome Monument to Senator Giambattista Bonzio (d. 1508)
Unknown
The arch w sarcophagus & recumbent senator, virtues, polychrome architecture
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Poplars on a Hill Poplars at Saint-Remy
Unknown
When van Gogh began experiencing prolonged seizures in 1889, he committed himself to an asylum in Saint-Remy. There he sometimes painted the fields and landscape visible through his window. Anxious about the recurrence of his illness, he made even bolder expressions of his feelings of nature. In Poplars at Saint-Remy, each brushstroke is like a broad, thick mosaic tile fitted into place. The trees tilting to the right seem to be walking up the hill with an instability that animates the entire composition.
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Porta della Carta, Doge's Palace
Unknown
Close-up of Doge Francesco Foscari, 1885, by L. Ferrari to replace orig. destroyed in 1797 and lion of St. Mark
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Porta della Carta, Doge's Palace
Unknown
Detail view above portal with Doge and the lion of St. Mark and window treatment
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Portrait: Dr. Paul Gachet, the Doctor (detail) Portrait of Doctor Gachet
Unknown
The Portrait of Doctor Gachet is one of Van Gogh's most famous paintings. It's notable for a number of reasons. It was painted in the last few months of Vincent's life and the subject has been the focus of a great deal of controversy. How competent was Doctor Gachet? What did Vincent mean when he wrote to Theo "First of all, he is sicker than I am, I think, or shall we say just as much"
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Portrait: Dr. Paul Gachet, the Doctor Portrait of Doctor Gachet
Unknown
The Portrait of Doctor Gachet is one of Van Gogh's most famous paintings. It's notable for a number of reasons. It was painted in the last few months of Vincent's life and the subject has been the focus of a great deal of controversy. How competent was Doctor Gachet? What did Vincent mean when he wrote to Theo "First of all, he is sicker than I am, I think, or shall we say just as much"
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Portrait of a Gentleman (detail) Portrait of a Man
Unknown
A sense of calm and expressiveness as well as light effects are outstanding in this canvas. It clearly shows the influence of Giorgione, particularly in the general tone of calm melancholy expressed in the face.
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Portrait of a Gentleman Portrait of a Man
Unknown
A sense of calm and expressiveness as well as light effects are outstanding in this canvas. It clearly shows the influence of Giorgione, particularly in the general tone of calm melancholy expressed in the face.
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Portrait of a Man Holding a Medallion of Cosimo de'Medici (detail) Anonymous portrait : Portrait of a Man with the Medal of Cosmo the Elder
Unknown
This beautiful painting includes a double portrait, revealing a certain link between the unknown young man and the Medici family. The medal he keeps in his hands shows in fact Cosimo the Elder in profile: it is a gilt plaster mould glued on the wood, it is derived from a gold posthumously medal coined between 1465 and 1469 in honour of Cosimo de' Medici. The portrait is an early work by Botticelli; he set the man in the open against a fascinating desolate landscape recalling Flemish paintings.
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Portrait of a Man in the Hat Decorated with Pearls A Man with Pearls on His Hat
Unknown
Rembrandt 1660-1663: After Rembrandt
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Portrait of a Man in the Hat Decorated with Pearls A Man with Pearls on His Hat
Unknown
Rembrandt 1660-1663: After Rembrandt
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Portrait of a Woman Dressed as Vestal Virgin A Lady as a Vestal Virgin
Unknown
Maria Anna Catharina Angelica Kauffmann is a painter in the early Neoclassical style best known for her decorative wall paintings for residences designed by Robert Adam. Her paintings are Rococo in tone and approach, though her figures are given Neoclassical poses and draperies. Kauffmann's portraits of female sitters are among her finest works..-- The Vestal Virgins were priestesses of the temple of Vesta (Greek Hestia), the Roman goddess of the fire that burns in the hearth. One of the Vestals' duties was to keep the altar fire in the temple burning perpetually. They were sworn to absolute chastity; breaking the vow was punished by burial alive.
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Portrait of a Woman Dressed as Vestal Virgin A Lady as a Vestal Virgin
Unknown
Maria Anna Catharina Angelica Kauffmann is a painter in the early Neoclassical style best known for her decorative wall paintings for residences designed by Robert Adam. Her paintings are Rococo in tone and approach, though her figures are given Neoclassical poses and draperies. Kauffmann's portraits of female sitters are among her finest works..-- The Vestal Virgins were priestesses of the temple of Vesta (Greek Hestia), the Roman goddess of the fire that burns in the hearth. One of the Vestals' duties was to keep the altar fire in the temple burning perpetually. They were sworn to absolute chastity; breaking the vow was punished by burial alive.
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Portrait of a Young Man (possibly Guidobaldo II, Duke of Urbino) A Florentine Gentleman
Unknown
This portrait
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Portrait of Bartolomeo Panciatichi (detail)
Unknown
Official portraitist at the Medici court of Cosimo I, Bronzino paintedportraits of members of Florentine aristocracy. In this picture Panciatichi is around thirty years old, austere and proud, sitting before his family palace, whose coat of arm appears on the right. Here the influence of Parmigianino may be obvious, in the elongated figure and the vigorous line which creates broken surfaces on the sleeves of Bartolomeo Panciatichi. The imposing, idealized structure behind the portrait refers to fifteenth-century styles, while the lucid surfaces of colour define once again all the ideal and intellectual splendour of this man of the court: a work, therefore, totally in keeping with the taste and mentality of the Florentine painter.
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Portrait of Degas and Valernes Degas and Evariste de Valernes, Painter and a Friend of the Artist
Unknown
After his return from America, Degas had closer contact with dealers such as Durand-Ruel, in an attempt to bring his work to public attention independently of the Salon. In 1874 Degas helped organize the 1st Impressionist exhibition. He always found the term
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Portrait of Degas and Valernes (detail) Degas and Evariste de Valernes, Painter and a Friend of the Artist
Unknown
After his return from America, Degas had closer contact with dealers such as Durand-Ruel, in an attempt to bring his work to public attention independently of the Salon. In 1874 Degas helped organize the 1st Impressionist exhibition. He always found the term
