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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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
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
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
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
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 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 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 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.
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Pouting (detail) Sulking
Unknown
This painting reveals the attention Degas dedicated to the psychological subtleties in his genre scenes. On the back wall there is a painting of a horse race that recalls similar works by Degas and other impressionists done during the same period. According to some scholars, the critic Duranty may have posed for the painting; he met Degas in 1862 and published a pamphlet in 1876 on the new painting that was very close to Degas
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Pouting Sulking
Unknown
This painting reveals the attention Degas dedicated to the psychological subtleties in his genre scenes. On the back wall there is a painting of a horse race that recalls similar works by Degas and other impressionists done during the same period. According to some scholars, the critic Duranty may have posed for the painting; he met Degas in 1862 and published a pamphlet in 1876 on the new painting that was very close to Degas
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Quattro Coronat Four Crowned Saints : Four Crowned Martyrs
Unknown
Although some of the figures still retain certain Gothicizing elements in the draperies and in the heads, the major impression is of a group of Roman senators born again in the Renaissance. The group is bound together by the spatial relation of one to the other and by a kind of mute conversation in which they are all engaged.
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Quattro Coronat Four Crowned Saints : Four Crowned Martyrs
Unknown
Although the two rear figures stand in front of engaged half-columns (a reminder of the Gothic tradition), still the statues look classical. The draperies look like Roman togas and the faces, in their individuality, recall Roman portrait sculpture.
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Quattro Coronat Four Crowned Saints : Four Crowned Martyrs
Unknown
In this commission he solved one of the most difficult problems facing the sculptor, that of the group conceived in the round. Although some of the figures still retain certain Gothicizing elements in the draperies and in the heads, the major impression is of a group of Roman senators born again in the Renaissance. The group is bound together by the spatial relation of one to the other and by a kind of mute conversation in which they are all engaged.
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Race Horses Passing the Viewing Stands Race Horses
Unknown
After his return from America, Degas had closer contact with dealers such as Durand-Ruel, In 1874 Degas helped organize the 1st Impressionist exhibition. He always found the term
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Race Horses Passing the Viewing Stands Race Horses
Unknown
After his return from America, Degas had closer contact with dealers such as Durand-Ruel, In 1874 Degas helped organize the 1st Impressionist exhibition. He always found the term
