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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Madonna and Child with St. Nicholas, St. John the Evangelist, St. Peter and St. Benedict (detail) Badia Polyptych
Unknown
Giotto's art and evident business shrewdness made him sufficiently prosperous: he married twice, supported eight children and provided handsome marriage settlements for 2 daughters. His most important works are: the frescos in the Capella degli Scrovegni, Padua; the Navicella mosaic in Saint Peter
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Madonna and Child with St. Nicholas, St. John the Evangelist, St. Peter and St. Benedict Badia Polyptych
Unknown
Giotto's art and evident business shrewdness made him sufficiently prosperous: he married twice, supported eight children and provided handsome marriage settlements for 2 daughters. His most important works are: the frescos in the Capella degli Scrovegni, Padua; the Navicella mosaic in Saint Peter
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Madonna and Child Enthroned with Saints (Ognissanti Madonna) (detail)
Unknown
Giotto painted this famous altarpiece about 1310 for the church of Ognissanti in Florence: it represents the Madonna enthroned with Child surrounded by angels and saints, an ancient iconographic pattern called Maest
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Madonna and Child Enthroned with Saints (Ognissanti Madonna) (detail)
Unknown
Giotto painted this famous altarpiece about 1310 for the church of Ognissanti in Florence: it represents the Madonna enthroned with Child surrounded by angels and saints, an ancient iconographic pattern called Maest
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Madonna and Child Enthroned with Saints (Ognissanti Madonna) (detail)
Unknown
Giotto painted this famous altarpiece about 1310 for the church of Ognissanti in Florence: it represents the Madonna enthroned with Child surrounded by angels and saints, an ancient iconographic pattern called Maest
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Madonna and Child Enthroned with Saints (Ognissanti Madonna) (detail)
Unknown
Giotto painted this famous altarpiece about 1310 for the church of Ognissanti in Florence: it represents the Madonna enthroned with Child surrounded by angels and saints, an ancient iconographic pattern called Maest
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Madonna and Child Enthroned with Saints (Ognissanti Madonna) (detail)
Unknown
Giotto painted this famous altarpiece about 1310 for the church of Ognissanti in Florence: it represents the Madonna enthroned with Child surrounded by angels and saints, an ancient iconographic pattern called Maest
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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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Maesta (verso) (detail)
Unknown
The Deposition, (excluding any possibility of distraction), is represented as intense embracing. Joseph of Arimathaea and John support the lifeless body, while Nicodemus removes the nails from the feet and the Virgin reaches out yearningly to her son, looking into his closed eyes. One of the Marys holds Christ's arm to her face, while the others, their hands covered by their veils, are tragic masks of grief. The little stream of blood under the cross, also present in the previous scene, has a dramatic realism.
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Maesta (verso) (detail)
Unknown
The Deposition, (excluding any possibility of distraction), is represented as intense embracing. Joseph of Arimathaea and John support the lifeless body, while Nicodemus removes the nails from the feet and the Virgin reaches out yearningly to her son, looking into his closed eyes. One of the Marys holds Christ's arm to her face, while the others, their hands covered by their veils, are tragic masks of grief. The little stream of blood under the cross, also present in the previous scene, has a dramatic realism.
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Maesta (verso) (detail)
Unknown
The episode of the Descent into Hell is not mentioned in the canonical gospels, but recounted in the apocryphal gospel of Nicodemus. It is an iconographic theme little diffused in Western painting, shows clear traces of Byzantine art in the abundant use of gold on Jesus' robe and the unimaginative layout of the scene itself. Having burst open the gates of hell, Christ arrives in limbo to set his forefathers free: while helping Adam to rise, he treads on a hideous Satan, who lies vanquished and blind with rage.
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Maesta (verso) (detail)
Unknown
An entire compartment is devoted to Pilate's action, although the story is told briefly and only by Matthew. Again, to lend vitality to each single movement, different planes of perspective are superimposed in the scene, both in the figure of Pilate, and in the large group crowding in front of the left pillar. The base of this should be parallel to that of the column next to it, but it is much further back.
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Maesta (verso) (detail)
Unknown
The composition adheres faithfully to the written source and the scene is illustrated in minute detail.
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Maesta (verso) (detail)
Unknown
The main element of the verso consisted of fourteen panels. .Except for the Entry into Jerusalem and the Crucifixion, each panel contains two episodes. The central part of the lower row with the Agony in the Garden and Christ taken Prisoner is twice as wide as the other compartments (but the same as the Crucifixion panel) because the events portrayed are composed of different narrative units.Numerous contrasting theories have been advanced by critics for the order of interpretation, rendered problematical by the variety of New Testament sources drawn on by Duccio. It is certain that the cycle began at the bottom left and ended at the top right, proceeding from left to right first on the lower row and then on the upper.
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Maesta (verso) (detail)
Unknown
The emotional intensity of the Stories of the Passion, from Christ Taken Prisoner to the Way to Calvary, reaches its most dramatic moment in the Crucifixion which, placed in the middle of the upper row, dominates the whole of the back section. The slender cross stands out against the gold ground, dividing the crowd into two separate groups. On the left are Christ's followers, subdued and orderly, their faces drawn with grief, amongst whom are Mary of Clopas, Mary Mother of Jesus, Mary Magdalene (dressed in red with her long hair unbound) and John the Evangelist. On the right, the priests and soldiers are shown mocking and insulting, with rough movements.
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Maesta (detail)
Unknown
In 1308 the city of Siena commissioned Duccio to produce a panel for the cathedral
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Maesta (verso) (detail)
Unknown
The emotional intensity of the Stories of the Passion, from Christ Taken Prisoner to the Way to Calvary, reaches its most dramatic moment in the Crucifixion which, placed in the middle of the upper row, dominates the whole of the back section. The slender cross stands out against the gold ground, dividing the crowd into two separate groups. On the left are Christ's followers, subdued and orderly, their faces drawn with grief, amongst whom are Mary of Clopas, Mary Mother of Jesus, Mary Magdalene (dressed in red with her long hair unbound) and John the Evangelist. On the right, the priests and soldiers are shown mocking and insulting, with rough movements.
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Maesta (detail)
Unknown
In 1308 the city of Siena commissioned Duccio to produce a panel for the cathedral
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Maesta (detail)
Unknown
In 1308 the city of Siena commissioned Duccio to produce a panel for the cathedral
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Maesta
Unknown
The Madonna appears on the panel as the Queen of the Heaven and Siena. In the foreground the four patron saints of Siena are knneeling: Sts Ansanus, Savinus, Crescentius and Victor. The Latin inscription on the base of the throne contains the name of the painter. The painting ornamented the high altar of the Cathedral of Siena until 1505. Later the predella pictures were separated and the original fame was lost.
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St. Francis of Assisi Receiving Stigmata (detail)
Unknown
Giotto's altar-piece illustrates four episodes in the life of the holy founder of the mendicant order of the Franciscans (1182-1226). With some variants, the compositions are drawn from frescoes executed around 1290 (?) by the young Giotto in the upper Basilica of Assisi. Signed along the lower edge of the frame, the Louvre panel is a decisive element in the attribution of the Assisi cycle to Giotto, which was once contested. He was the first painter in the history of Western art to set figures within a coherent space and give them structural consistency.
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St. Francis of Assisi Receiving Stigmata
Unknown
His altar-piece illustrates four episodes in the life of the holy founder of the mendicant order of the Franciscans (1182-1226). With some variants, the compositions are drawn from frescoes executed around 1290 (?) by the young Giotto in the upper Basilica of Assisi. Signed along the lower edge of the frame, the Louvre panel is a decisive element in the attribution of the Assisi cycle to Giotto, which was once contested. He was the first painter in the history of Western art to set figures within a coherent space and give them structural consistency.
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St. Francis of Assisi Receiving Stigmata
Unknown
Giotto's altar-piece illustrates four episodes in the life of the holy founder of the mendicant order of the Franciscans (1182-1226). With some variants, the compositions are drawn from frescoes executed around 1290 (?) by the young Giotto in the upper Basilica of Assisi. Signed along the lower edge of the frame, the Louvre panel is a decisive element in the attribution of the Assisi cycle to Giotto, which was once contested. He was the first painter in the history of Western art to set figures within a coherent space and give them structural consistency.
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St. Francis of Assisi Receiving Stigmata (detail)
Unknown
Giotto's altar-piece illustrates four episodes in the life of the holy founder of the mendicant order of the Franciscans (1182-1226). With some variants, the compositions are drawn from frescoes executed around 1290 (?) by the young Giotto in the upper Basilica of Assisi. Signed along the lower edge of the frame, the Louvre panel is a decisive element in the attribution of the Assisi cycle to Giotto, which was once contested. He was the first painter in the history of Western art to set figures within a coherent space and give them structural consistency.
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Madonna and Child Enthroned (detail)
Unknown
Vasari mentioned this painting as located in the church San Francesco in Pisa. In 1811, during the Napoaleonic war, it was transferred to Paris. It was restored in 1937-38. The thorought analysis executed before the restoration showed the painting to be in a rather precarious condition: the central figures and the golden background were completely repainted. From the results of the analysis some doubts have been arised concerning the authorship of the painting. Among others it was assumed to be the work of a Sienese painter (perhaps Duccio) after a painting by Cimabue.
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Madonna and Child Enthroned (detail) Virgin Enthroned with Angels
Unknown
Vasari mentioned this painting as located in the church San Francesco in Pisa. In 1811, during the Napoaleonic war, it was transferred to Paris. It was restored in 1937-38. The thorought analysis executed before the restoration showed the painting to be in a rather precarious condition: the central figures and the golden background were completely repainted. From the results of the analysis some doubts have been arised concerning the authorship of the painting. Among others it was assumed to be the work of a Sienese painter (perhaps Duccio) after a painting by Cimabue.
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Madonna and Child Enthroned Virgin Enthroned with Angels
Unknown
Vasari mentioned this painting as located in the church San Francesco in Pisa. In 1811, during the Napoaleonic war, it was transferred to Paris. It was restored in 1937-38. The thorought analysis executed before the restoration showed the painting to be in a rather precarious condition: the central figures and the golden background were completely repainted. From the results of the analysis some doubts have been arised concerning the authorship of the painting. Among others it was assumed to be the work of a Sienese painter (perhaps Duccio) after a painting by Cimabue.
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Crucifixion with Stories of Passion and Holy Figures (detail) The Decoration of the Camposanto in Pisa
Unknown
In the Last Judgement Christ and the Virgin are set side by side in separate mandorlas, and Christ concentrates upon a single condemnatory gesture. The traditional balance between the Blessed and the Damned has been maintained, but Hell has swollen to become almost a separate scene, running the full height of the wall and rivalling the whole of the rest of the Last Judgement in size. The change in relative proportion expresses the sense of guilt and the awareness of the just and terrifying wrath of God that follow the disasters of the forties and permeate the art of the fifties and sixties.
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Gothic Wall Tomb of Doge Marco Corner (d. 1368)
Unknown
Gothic architecture, Madonna and Child betw. St. Peter & St. Paul
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Gothic Wall Tomb of Doge Marco Corner (d. 1368)
Unknown
Sarcophagus with tilted cover and recumbent doge
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Madonna with Child and Saints Zenobius and Reperata
Unknown
Detail of Madonna and Child front center
