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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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.
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St. Sebastian (detail) Saint Sabastian
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This is a late work of Antonello showing Venetian influences.
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Summer: Shearing of Sheep, with Abraham and Isaac
Unknown
Francesco Bassano the Younger (originally Francesco Giambattista da Ponte), Italian painter, eldest son, pupil and employee of Jacopo Bassano. His first independent work is from 1574. He ran the Venetian branch of the workshop until committing suicide a few months after his father's death. Then Leandro took over the workshop.
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Sunday Afternoon on La Grande Jatte A Sunday Afternoon on the Grande Jatte
Unknown
Using newly discovered optical and color theories, Seurat rendered his subject by placing tiny, precise brush strokes of different colors close to one another so that they blend at a distance. Art critics subsequently named this technique Divisionism, or Pointillism. The artist visited La Grande Jatte many times, making drawings and more than 30 oil sketches to prepare for the final work. With his precise method and technique, Seurat conceived of his painting as a reform of Impressionism. The precise contours, geometric shapes, and measured proportions and distances in Seurat
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Sunday Afternoon on La Grande Jatte A Sunday Afternoon on the Grande Jatte
Unknown
"Seurat's Grande Jatte is one of those rare works of art that stand alone; its transcendence is instinctively recognized by everyone. What makes this transcendence so mysterious is that the theme of the work is not some profound emotion or momentous event, but the most banal of workaday scenes: Parisians enjoying an afternoon in a local park. Yet we never seem to fathom its elusive power. Stranger still, when he painted it, Seurat was a mere 25 (with only seven more years to live), a young man with a scientific theory to prove; this is hardly the recipe for success. His theory was optical: the conviction that painting in dots, known as pointillism or divisionism, would produce a brighter color than painting in strokes.
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Sunflowers
Unknown
Van Gogh painted four still lifes of sunflowers in Paris in late summer 1887. There is a small oil sketch for this canvas (Rijksmuseum Vincent van Gogh, Amsterdam) as well as another painting of two sunflowers also signed and dated 1887 (Kunstmuseum Bern), and a larger canvas showing four sunflower heads (Rijksmuseum Kr
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Tahitian Women at the Beach
Unknown
Gauguin's art has all the appearance of a flight from civilization, of a search for new ways of life, more primitive, more real and more sincere. His break away from a solid middle-class world, abandoning family, children and job, his refusal to accept easy glory and easy gain are the best-known aspects of Gauguin's fascinating life and personality. This picture, also known as Two women on the beach, was painted in 1891, shortly after Gauguin's arrival in Tahiti. During his first stay there (he was to leave in 1893, only to return in 1895 and remain until his death), Gauguin discovered primitive art, with its flat forms and the violent colors belonging to an untamed nature.
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Tahitian Women at the Beach (detail)
Unknown
Gauguin's art has all the appearance of a flight from civilization, of a search for new ways of life, more primitive, more real and more sincere. His break away from a solid middle-class world, abandoning family, children and job, his refusal to accept easy glory and easy gain are the best-known aspects of Gauguin's fascinating life and personality. This picture, also known as Two women on the beach, was painted in 1891, shortly after Gauguin's arrival in Tahiti. During his first stay there (he was to leave in 1893, only to return in 1895 and remain until his death), Gauguin discovered primitive art, with its flat forms and the violent colors belonging to an untamed nature.
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Tahitian Women (On the Beach) (detail
Unknown
Gauguin's art has all the appearance of a flight from civilisation, of a search for new ways of life, more primitive, more real and more sincere. His break away from a solid middle-class world, abandoning family, children and job, his refusal to accept easy glory and easy gain are the best-known aspects of Gauguin's fascinating life and personality. This picture, also known as Two women on the beach, was painted in 1891, shortly after Gauguin's arrival in Tahiti. During his first stay there (he was to leave in 1893, only to return in 1895 and remain until his death), Gauguin discovered primitive art, with its flat forms and the violent colors belonging to an untamed nature.
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Temple of Amun-Ra, most important pharaonic temple complex, long building history, with high points under Amenhotep III, ca.1375 BC and Rameses II, ca.1250 BC
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Polychromed lintel with cartouches
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Temple of Amun-Ra, most important pharaonic temple complex, long building history, with high points under Amenhotep III, ca.1375 BC and Rameses II, ca.1250 BC
Unknown
Hypostyle Hall, toward open amd closed papyrus blossom columns
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Temple of Amun-Ra, most important pharaonic temple complex, long building history, with high points under Amenhotep III, ca.1375 BC and Rameses II, ca.1250 BC
Unknown
Hypostyle Hall with clerestory window, human figures for scale
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Temple of Amun-Ra, most important pharaonic temple complex, long building history, with high points under Amenhotep III, ca.1375 BC and Rameses II, ca.1250 BC
Unknown
Hall with Osiris pier figures, Temple of Rameses III, off the Great Court
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Temple of Amun-Ra, most important pharaonic temple complex, long building history, with high points under Amenhotep III, ca.1375 BC and Rameses II, ca.1250 BC
Unknown
Overview West, Temple of Amun Ra at Karnak
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Temple of Amun-Ra, most important pharaonic temple complex, long building history, with high points under Amenhotep III, ca.1375 BC and Rameses II, ca.1250 BC
Unknown
Hypostyle Hall, diagonal view upwards with closed & open papyrus capitals with clerestory window
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Temple of Amun-Ra, most important pharaonic temple complex, long building history, with high points under Amenhotep III, ca.1375 BC and Rameses II, ca.1250 BC
Unknown
Anksh ba Amon, daughter/wife of Rameses II, at his feet, Great Court
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Temple of Amun-Ra, most important pharaonic temple complex, long building history, with high points under Amenhotep III, ca.1375 BC and Rameses II, ca.1250 BC
Unknown
Hypostyle Hall, relief sculpture, N Wall
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Temple of Amun-Ra, most important pharaonic temple complex, long building history, with high points under Amenhotep III, ca.1375 BC and Rameses II, ca.1250 BC
Unknown
Terminating East Gateway of Karnak Temple complex
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Temple of Amun-Ra, most important pharaonic temple complex, long building history, with high points under Amenhotep III, ca.1375 BC and Rameses II, ca.1250 BC
Unknown
Processional Way approaching the First Pylon, with Avenue of Ram-Headed Sphinxes
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Temple of Amun-Ra, most important pharaonic temple complex, long building history, with high points under Amenhotep III, ca.1375 BC and Rameses II, ca.1250 BC
Unknown
Ram-headed Sphinxes of the Processional Way leading into Karnark fr W
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Temple of Amun-Ra, most important pharaonic temple complex, long building history, with high points under Amenhotep III, ca.1375 BC and Rameses II, ca.1250 BC
Unknown
Bundled-Papyrus columns of Thutmosis III, Garden of Amun Ra
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Temple of Amun-Ra, most important pharaonic temple complex, long building history, with high points under Amenhotep III, ca.1375 BC and Rameses II, ca.1250 BC
Unknown
Amun-Ra (1 of 3 statues originally) erected by Thutmosis III. Converted by Early Christians to a Crucifix
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Temple of Amun-Ra, most important pharaonic temple complex, long building history, with high points under Amenhotep III, ca.1375 BC and Rameses II, ca.1250 BC
Unknown
Hypostyle Hall, closed papyrus-bud capital
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Temple of Amun-Ra, most important pharaonic temple complex, long building history, with high points under Amenhotep III, ca.1375 BC and Rameses II, ca.1250 BC
Unknown
Bundled-Papyrus columns of Thutmosis III. Walls depict birds, plants fr conquered coutries, e.g. eggplant, ostrich, pomegranate & cattle
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Temple of Amun-Ra, most important pharaonic temple complex, long building history, with high points under Amenhotep III, ca.1375 BC and Rameses II, ca.1250 BC
Unknown
Karnak, general transverse view of Great Court, with huge column and Rameses II
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Temple of Amun-Ra, most important pharaonic temple complex, long building history, with high points under Amenhotep III, ca.1375 BC and Rameses II, ca.1250 BC
Unknown
Hypostyle Hall, characteristic closed-bud column capital & relief carving
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Temple of Antoninus and Faustina and Church of S. Lorenzo in Miranda
Unknown
General view from above toward NE
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Temple of Castor and Pollux, Curia, Temple of Vesta, Temple of Antoninus and Faustina
Unknown
General view from above toward N
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Temple of Hephaistos (1999)
Unknown
View from E with Corinthian capital of Odeon of Agrippa in foreground
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Temple of Ra-Harakhte, with 4x Rameses II
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Interior of Temple of Ramses II with colossal Osirid statues
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Temple of Ra-Harakhte, with 4x Rameses II
Unknown
Interior detail: Osirid statues of Rameses with crown of Upper Egypt
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Temple of Ra-Harakhte, with 4x Rameses II
Unknown
Quasi-profile view of two colossal Rameses II fr SE
