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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Set of Drawings underneath the Medici Chapel, San Lorenzo, Florence. These drawings were done while Michelangelo was hiding from the Medici force after the siege of Florence and were only discovered in 1975
Unknown
End Wall opposite entrance: standing woman facing right, combined with torso of reclining men and a large head
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S. Giovanni in Laterano
Unknown
Total view of ceiling of transept w. coat of arms of the Aldobrandini Family and overall sculptural treatment
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Shelter on Montmartre
Unknown
Van Gogh developed profound fondness for Rembrandt, Frans Hals, and other Dutch masters, along with preferences for two contemporary French painters, Jean-Fran
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Stele of Hammurabi
Unknown
Det: upper part with Hammurabi appearing before seated Shamash, god of the sun and of justice
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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
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 (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 (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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Still Life with a Maori Statuette (detail)
Unknown
In his Tahiti period he often painted on unprimed hessian, or sackcloth, and in many of the paintings done at the time the weave of the rough fabric is clearly visible through the paint. This was partly a consequence of his poverty, as was the thinness of the paint in some of his works, but he had begun to experiment with coarse canvas with Van Gogh in 1888, and found that the hairy surface of sackcloth enhanced the "barbaric" qualities he so much admired.
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Still Life with a Maori Statuette (detail) Roses and Statuette
Unknown
"Painting is the most beautiful of all arts. In it, all sensations are condensed; contemplating it, everyone can create a story at the will of his imagination and-with a single glance-have his soul invaded by the most profound recollections; no effort of memory, everything is summed up in one instant. -A complete art which sums up all the others and completes them. -Like music, it acts on the soul through the intermediary of the senses: harmonious colors correspond to the harmonies of sounds. But in painting a unity is obtained which is not possible in music, where the accords follow one another, so that the judgment experiences a continuous fatigue if it wants to reunite the end with the beginning. "
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Still Life with a Maori Statuette Roses and Statuette
Unknown
"Painting is the most beautiful of all arts. In it, all sensations are condensed; contemplating it, everyone can create a story at the will of his imagination and-with a single glance-have his soul invaded by the most profound recollections; no effort of memory, everything is summed up in one instant. -A complete art which sums up all the others and completes them. -Like music, it acts on the soul through the intermediary of the senses: harmonious colors correspond to the harmonies of sounds. But in painting a unity is obtained which is not possible in music, where the accords follow one another, so that the judgment experiences a continuous fatigue if it wants to reunite the end with the beginning. "
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Still Life with Apples and Oranges Apples and Oranges
Unknown
The surface on which the elements of this still life are assembled appears somewhat ambiguous, concealed as it is by the white cloth; only one table leg can be seen at the right, whereas at the left the tabletop may be resting on the sofa whose wooden frame and green upholstery can be perceived below the round dish. The white pitcher with floral design barely detaches itself from the busy surface of the curtain at right, while the stark orange fruit form a sharp contrast to the white of the cloth and the bowl. The draperies on the top and the tablecloth at the bottom practically fill the entire space not occupied by the still-life objects proper.
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Still Life with Apples and Primroses
Unknown
Claude Monet once owned this painting, a large and fine work that ranks with the best of C
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Still Life with Apples and Primroses
Unknown
Claude Monet once owned this painting, a large and fine work that ranks with the best of C
