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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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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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
Detail view above portal with Doge and the lion of St. Mark and window treatment
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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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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 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 Man Holding a Medallion of Cosimo d'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 color 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
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Portrait of M. and Mme. Bernheim de Villers A Couple: M. and Mme. Bernheim of Villers
Unknown
Jewish collectors were the most open to the "new painting,"of the Impressionists, one of those is contained in this portrait, Gaston Bernheim de Villers. This painting from 1910 shows how Renoir had broken with the much of the movement to apply a more disciplined, formal technique to portraits and figure paintings.
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Portrait of M. and Mme. Bernheim de Villers A Couple: M. and Mme. Bernheim of Villers
Unknown
Jewish collectors were the most open to the "new painting,"of the Impressionists, one of those is contained in this portrait, Gaston Bernheim de Villers. This painting from 1910 shows how Renoir had broken with the much of the movement to apply a more disciplined, formal technique to portraits and figure paintings.
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Portrait of the Bellelli Family (detail) The Bellelli Family
Unknown
In 1858 - 59, Degas spent several months in Italy with his aunt, the Baroness Bellelli. He made a number of sketches while in Italy, but this life-sized portrait was produced later. Two of the figures (the mother and standing girl) are carefully posed, apparently aware that someone is looking at them. The baron, with his back to the viewer, has just begun to realise that something is happening. Throughout his life, Degas would continue to work long hours in the studio to achieve this kind of apparent spontaneity. Degas never sold this painting, perhaps because it revealed too much about his aunt's unhappy marriage to the Baron. It remained in his studio until after his death.
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Portrait of the Bellelli Family (detail) The Bellelli Family
Unknown
In 1858 - 59, Degas spent several months in Italy with his aunt, the Baroness Bellelli. He made a number of sketches while in Italy, but this life-sized portrait was produced later. Two of the figures (the mother and standing girl) are carefully posed, apparently aware that someone is looking at them. The baron, with his back to the viewer, has just begun to realize that something is happening. Throughout his life, Degas would continue to work long hours in the studio to achieve this kind of apparent spontaneity. Degas never sold this painting, perhaps because it revealed too much about his aunt's unhappy marriage to the Baron. It remained in his studio until after his death.
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Portrait of the Bellelli Family (detail) The Bellelli Family
Unknown
It was at the invitation of Baron Gennaro Bellelli and his wife Laura, artist's aunt (an Italian aunt), that Degas went to Florence in August 1858. There he did numerous drawings of the family. He finally painted his group portrait of the Bellelli Family in his studio in Paris. Cousin Giulia is sitting, cousin Laura is standing with mother, Laura Bellelli, the baron is in an armchair, half-turned to the spectators.
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Portrait of the Bellelli Family (detail) The Bellelli Family
Unknown
It was at the invitation of Baron Gennaro Bellelli and his wife Laura, artist's aunt (an Italian aunt), that Degas went to Florence in August 1858. There he did numerous drawings of the family. He finally painted his group portrait of the Bellelli Family in his studio in Paris. Cousin Giulia is sitting, cousin Laura is standing with mother, Laura Bellelli, the baron is in an armchair, half-turned to the spectators.
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Portrait of the Bellelli Family The Bellelli Family
Unknown
It was at the invitation of Baron Gennaro Bellelli and his wife Laura, artist's aunt (an Italian aunt), that Degas went to Florence in August 1858. There he did numerous drawings of the family. He finally painted his group portrait of the Bellelli Family in his studio in Paris. Cousin Giulia is sitting, cousin Laura is standing with mother, Laura Bellelli, the baron is in an armchair, half-turned to the spectators.
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Portrait of the Duchess Montejasi-Cicerale (detail) Stefanina Primicile Carafa, Marchioness of Cicerale and Duchess of Montejasi
Unknown
Although best remembered for his depictions of ballet dancers and race horses, Degas painted many likenesses of his family members. He probably painted this portrait of his aunt, Stefania Carafa (1819-1901), during an extended visit to Naples, where many of his relatives lived. Described in family papers as a highly indulged, fun-loving child, the duchess grew into the stoic, world-weary woman depicted here. No expensive finery reveals her high social rank; indeed she wears a mourning dress, possibly to observe the recent death of her brother Achille.
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Portrait of the Duchess Montejasi-Cicerale Stefanina Primicile Carafa, Marchioness of Cicerale and Duchess of Montejasi
Unknown
Although best remembered for his depictions of ballet dancers and race horses, Degas painted many likenesses of his family members. He probably painted this portrait of his aunt, Stefania Carafa (1819-1901), during an extended visit to Naples, where many of his relatives lived. Described in family papers as a highly indulged, fun-loving child, the dutchess grew into the stoic, world-weary woman depicted here. No expensive finery reveals her high social rank; indeed she wears a mourning dress, possibly to observe the recent death of her brother Achille.
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Portrait of Therese de Gas, Duchess of Morbilli
Unknown
Degas came of the powerful upper bourgeoisie, his family having banking and business connections both in Italy and in the United States. His sister, Therese de Gas, married the Duke of Morbilli. He also painted a canvas of the couple.
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Portrait of Therese de Gas, Duchess of Morbilli (detail)
Unknown
Degas came of the powerful upper bourgeoisie, his family having banking and business connections both in Italy and in the United States. His sister, Therese de Gas, married the Duke of Morbilli. He also painted a canvas of the couple.
