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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Stele of Hammurabi
Unknown
upper part with Hammurabi appearing before seated Shamash, god of the sun and of justice
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Stepped Pyramid of Djoser, Detail, A
Unknown
Stepped pyramid detail with people on horizon for scale
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Stepped Pyramid of Djoser, Detail, B
Unknown
South side & southeast corner, with restored casing at base
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Stepped Pyramid of Djoser & Heb-Sed Festival Court, A
Imhotep (Architect)
Heb-Sed Festival Court with Stepped Pyramid of Djoser
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Stepped Pyramid of Djoser & Heb-Sed Festival Court, B
Unknown
Heb-Sed Festival Court with Stepped Pyramid of Djoser, from south-southeast
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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 Māori 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 Māori 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
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Still Life with Bird's Nest
Unknown
Lower left: peaches, plums, raspberries, mouse, grasshopper, crab, lizard
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Still Life with Fruit Basket
Unknown
The dynamic effect created by a complex spatial construction and C
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Still Life with Fruit Basket Still Life With a Basket (Kitchen Table)
Unknown
Cezanne does not draw his picture before painting it: instead, he creates space and depth of perspective by means of planes of color, which are freely associated and at the same time contrasted and compared. The facets which are thus produced create not just one but many perspectives, and in this way volume comes once again to dominate the composition, no longer a product of the line but rather of the color itself. His still-lifes, in their simplicity and delicate tonal harmony, are a typical work and thus ideal for an understanding of C
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Still Life with Pears
Unknown
At first glance, it's a simple arrangement of pears on a tabletop, but a second look shows us that the objects are not true to nature. What, for example, is the gauzy black mass to the right of the plate? Is that really drapery protruding stiffly beyond the table's edge? Indeed, C
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Still Life with Pitcher Kettle, Glass and Plate with Fruit
Unknown
Most of his pictures are still lifes. These were done in the studio, with simple props; a cloth, some apples, a vase or bowl and, later in his career, plaster sculptures. C
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Still Life with Skull
Unknown
Cezanne was an artist's artist, and his restrained pictures are impersonal and remote, much like his personality. His art misunderstood and discredited by art critics eventually challenged all the conventional values of painting through his insistence on personal expression and on the integrity of the painting itself.
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Still Life with Statuette Still Life with Plaster Cupid
Unknown
Here we sense poles in the formal contrast of the apples and the statuette: the first, centered and without articulation; the Cupid, a body rich in convexities and turns. But the Cupid is white and the scattered fruit, red, yellow, and green. The two opposites are united, or at least bridged-more articulated forms.
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Still Life with Tea Kettle and White Cloth
Unknown
Ultimately Cezanne abandoned his early style, along with Impressionism, in favor of an increasingly abstract interpretation. He believed art should be "a harmony which runs parallel with nature." Cezanne sought to reduce nature to three shapes: the cylinder, cone and sphere, rendering these shapes in skillfully modeled patches of color.
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Still Life with Tea Kettle and White Cloth
Unknown
Ultimately Cezanne abandoned his early style, along with Impressionism, in favor of an increasingly abstract interpretation. He believed art should be "a harmony which runs parallel with nature." Cezanne sought to reduce nature to three shapes: the cylinder, cone and sphere, rendering these shapes in skillfully modeled patches of color.
