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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Temple of Ra-Harakhte, with 4x Rameses II
Unknown
Relief sculpture & statue of Maat, goddess of Justice
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Temple of Ra-Harakhte, with 4x Rameses II
Unknown
View of rock-cut fatade fr SE (moved to higher ground in 1960s)
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Temple of Ra-Harakhte, with 4x Rameses II
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Det: w Ra-Harakhte above the Portal & colossal Rameses II, from front center
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Temple of the Olympian Zeus (Olympeion)
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Detail of Corinthian column capitals and acanthus leaves, from E
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Temple of Vesta (left foreground), Temple of Fortuna Virilis (central background), and Baroque Fountain (1715) by Carlo Francesco Bizzaccheri and Francesco Moratti (right)
Unknown
Overall view of structures in their setting
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Temple of Vesta, Temple of Castor and Pollux, and Palatine Hill
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Overall view ESE from Basilica Julia
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Thatch at Montcel
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In Auvers-sur-Oise, back in a village community such as he had not known since Nuenen, four years earlier, van Gogh worked at first enthusiastically; his choice of subjects such as fields of corn, the river valley, peasants' cottages, the church, and the town hall reflects his spiritual relief. A modification of his style followed: the natural forms in his paintings became less contorted, and in the northern light he adopted cooler, fresh tonalities. His brushwork became broader and more expressive and his vision of nature more lyrical. Everything in these pictures seems to be moving, living.
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Thatch at Montcel Thatches of Cordeville with Auvers-on-Oise
Unknown
In Auvers-sur-Oise, back in a village community such as he had not known since Nuenen, four years earlier, van Gogh worked at first enthusiastically; his choice of subjects such as fields of corn, the river valley, peasants' cottages, the church, and the town hall reflects his spiritual relief. A modification of his style followed: the natural forms in his paintings became less contorted, and in the northern light he adopted cooler, fresh tonalities. His brushwork became broader and more expressive and his vision of nature more lyrical. Everything in these pictures seems to be moving, living.
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Thatch at Montcel Thatches of Cordeville with Auvers-on-Oise
Unknown
Van Gogh strove to respect the external, visual aspect of a figure or landscape but found himself unable to suppress his own feelings about the subject, which found expression in emphatic contours and heightened effects of colour. Once hesitant to diverge from the traditional techniques of painting he worked so hard to master, he now gave free rein to his individuality and began squeezing his tubes of oil paint directly on the canvas. Van Gogh's style was spontaneous and instinctive, for he worked with great speed and intensity, determined to capture an effect or a mood while it possessed him.
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The Adoration of the Magi
Unknown
Wealth and culture of the donor are reflected in the lavish use of gold and in the pomp of the Magi procession, including also exotic animals as leopards and monkeys. If in this picture clearly emerges the persistence of International Gothic at the beginning of 15th Century, in the meanwhile the panel is ahead of its time showing in the predella's scenes Nativity, Rest during the Flight into Egypt and Presentation to the Temple) one of the basic innovations of Renaissance art: the blue sky at the place of the traditional gold background
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The Adoration of the Magi (detail)
Unknown
Gentile da Fabriano's painting is not a geometrically constructed composition. It should be read as if it were the text of a tale, beginning at the top left corner, where the three Magi, meeting at the seaside, notice the star they have to follow. If we follow their course among sloping hills and cultivated fields we can see how they march into Jerusalem under the frame of the central arch, while in the lunette on the right we can see them departing.
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The Adoration of the Magi (detail)
Unknown
If in this picture clearly emerges the persistence of International Gothic at the beginning of 15th Century, in the meanwhile the panel is ahead of its time showing in the predella's scenes Nativity.
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The Adoration of the Magi (detail)
Unknown
Gentile da Fabriano's painting is not a geometrically constructed composition. It should be read as if it were the text of a tale, beginning at the top left corner. If we follow the King;s course among sloping hills and cultivated fields we can see how they march into Jerusalem.
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The Adoration of the Magi (detail)
Unknown
Palla di Noferi Strozzi commissioned this famous altarpiece, signed and dated 1423 on the frame, for his family's chapel in the church of Santa Trinita in Florence. Wealth and culture of the donor are reflected in the lavish use of gold and in the pomp of the Magi procession, including also exotic animals as leopards and monkeys. If in this picture clearly emerges the persistence of International Gothic at the beginning of 15th Century, in the meanwhile the panel is ahead of its time showing in the predella's scenes Nativity, Rest during the Flight into Egypt and Presentation to the Temple) one of the basic innovations of Renaissance art: the blue sky at the place of the traditional gold background.
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The Adoration of the Magi (detail)
Unknown
Now we can discern the faces too, and observe the smallest details of garments, arms and harness. Then the crowd, which can pride itself on hunters, noble chargers and exotic animals too, stops at the right-hand corner of the foreground, having reached its destination.
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The Adoration of the Magi (detail)
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The banker Palla Strozzi, who commissioned the work, had himself portrayed with his son immediately behind the youngest king. It is not just the magnificent decoration of the work and the exotic animals which refer to the courtly culture; the kneeling squire fastening the spur of the king presenting his gift is also a chivalrous motif.
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The Adoration of the Magi (detail)
Unknown
The banker Palla Strozzi, who commissioned the work, had himself portrayed with his son immediately behind the youngest king. It is not just the magnificent decoration of the work and the exotic animals which refer to the courtly culture; the kneeling squire fastening the spur of the king presenting his gift is also a chivalrous motif.
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The Afternoon Nap (After Millet)
Unknown
In 1890, Vincent exhibited with the Independants in Paris. During that same year, he exhibited with Les Vingt in Brussels, where Anna Boch, a fellow painter and friend, bought the only painting he ever sold in his lifetime. He moved to Auvers, where he was treated by his friend, Doctor Gachet. Unfortunately, Vincent's mental state was beyond help. Out of desperation and frustration, he fatally shot himself in 1890.
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The Afternoon Nap (After Millet))
Unknown
In 1890, Vincent exhibited with the Independants in Paris. During that same year, he exhibited with Les Vingt in Brussels, where Anna Boch, a fellow painter and friend, bought the only painting he ever sold in his lifetime. He moved to Auvers, where he was treated by his friend, Doctor Gachet. Unfortunately, Vincent's mental state was beyond help. Out of desperation and frustration, he fatally shot himself in 1890.
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The Afternoon Nap (After Millet))
Unknown
In 1890, Vincent exhibited with the Independants in Paris. During that same year, he exhibited with Les Vingt in Brussels, where Anna Boch, a fellow painter and friend, bought the only painting he ever sold in his lifetime. He moved to Auvers, where he was treated by his friend, Doctor Gachet. Unfortunately, Vincent's mental state was beyond help. Out of desperation and frustration, he fatally shot himself in 1890.
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The Annunciation (detail)
Unknown
The picture, commissioned in 1489, was painted for the church of the florentine convent of Cestello (today Santa Maria Maddalena de'Pazzi) in borgo Pinti. The scene is notable for dramatic force suggested by the pose of the Virgin; the figures are placed inside a perspective space, open in the background on a beautiful landscape.
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The Annunciation (detail)
Unknown
The picture, commissioned in 1489, was painted for the church of the florentine convent of Cestello (today Santa Maria Maddalena de'Pazzi) in borgo Pinti. The scene is notable for dramatic force suggested by the pose of the Virgin; the figures are placed inside a perspective space, open in the background on a beautiful landscape. Restored in 1987 .
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The Annunciation (detail)
Unknown
Faithfully adhering to the Florentine tradition, Alessio Baldovinetti made refined use of a clear, almost sharp line, together with a great curiosity for the tiniest details. In this work, note the slender elegance of the Madonna, whose traditional gesture of reverent surprise at the angel's announcement has been replaced by an almost mannered pose, worthy of some worldly ritual. The artist attempts a perspective view by setting the scene under a portico, thus creating a background plane with the tops of the trees that can be seen above the surrounding wall.
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The Annunciation (detail)
Unknown
Faithfully adhering to the Florentine tradition, Alessio Baldovinetti made refined use of a clear, almost sharp line, together with a great curiosity for the tiniest details. In this work, note the slender elegance of the Madonna, whose traditional gesture of reverent surprise at the angel's announcement has been replaced by an almost mannered pose, worthy of some worldly ritual. The artist attempts a perspective view by setting the scene under a portico, thus creating a background plane with the tops of the trees that can be seen above the surrounding wall.
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The Annunciation (detail)
Unknown
The picture, commissioned in 1489, was painted for the church of the florentine convent of Cestello (today Santa Maria Maddalena de'Pazzi) in borgo Pinti. The scene is notable for dramatic force suggested by the pose of the Virgin; the figures are placed inside a perspective space, open in the background on a beautiful landscape.
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The Annunciation. Gabriel. (Detail)
Unknown
The panel depicting in grisaille the angel of the Annunciation is one of the wings of a small portable diptych. The other wing representing the Virgin annunciated is in the same museum.
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The Annunciation. the Virgin (detail)
Unknown
The panel depicting in grisaille the Virgin annunciated is one of the wings of a small portable diptych. The other wing representing the angel annunciating is in the same museum.
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The Artist Painting the Entombment
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Of all the visual wits of the nineteenth century, none was more sharp or observant than the painter, sculptor and engraver Honor
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The Artist Painting the Entombment (detail)
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Daumier's paintings were probably done for the most part fairly late in his career. Although he was accepted four times by the Salon, he never exhibited his paintings otherwise and they remained practically unknown up to the time of an exhibition held at Durand-Ruel's gallery in 1878, the year of his death. The paintings are in the main a documentation of contemporary life and manners with satirical overtones, although he also did a number featuring Don Quixote as a larger-than-life hero. His technique was remarkably broad and free.
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The Artist's Room at Arles (detail) The Bedroom at Arles
Unknown
Some of the citizens of Arles had become alarmed by Vincent's behaviour and signed a petition detailing their concerns. The petition was submitted to the mayor of Arles and eventually to the superintendent of police who ordered Van Gogh readmitted to the H
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The Artist's Room at Arles (detail) Van Gogh's Bedroom in Arles. Saint-R
Unknown
Vincent's Bedroom in Arles is one of the artist's best known paintings. The striking colours, unusual perspective and familiar subject matter create a work that is not only among Van Gogh's most popular, but also one that he himself held as one of his own personal favourites. As Van Gogh described in a letter to his brother, "My eyes are still tired by then I had a new idea in my head and here is the sketch of it. Another size 30 canvas. This time it's just simply my bedroom, only here colour is to do everything, and giving by its simplification a grander style to things, is to be suggestive here of rest or of sleep in general. In a word, looking at the picture ought to rest the brain, or rather the imagination. "
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The Artist's Room at Arles The Bedroom at Arles
Unknown
Some of the citizens of Arles had become alarmed by Vincent's behaviour and signed a petition detailing their concerns. The petition was submitted to the mayor of Arles and eventually to the superintendent of police who ordered Van Gogh readmitted to the H
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The Baldacchino. Rome, St. Peter's
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Detail of SW (?) column capital and top third of column, seen from below
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The Baldacchino. Rome, St. Peter's
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Base of SW column, N side with medallion of Pope Urban VIII
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The Baldacchino. Rome, St. Peter's
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Detail view of SE corner of superstructure, entablature block, angel, scroll, seen from below left
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The Baldacchino. Rome, St. Peter's
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Diagonal view upward of E side of superstructure, seen from apse
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The Baldacchino. Rome, St. Peter's
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Detail of column's central section, w laurel leaves & putti chasing bees
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The Baldacchino. Rome, St. Peter's
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Base of NW column, N side with acanthus leaves, bees and suns
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The Baldacchino. Rome, St. Peter's
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SE and SW columns enframing upper and lower niches of St. Veronica
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The Baldacchino. Rome, St. Peter's
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Base of SW column, W side, detail of rosary (as if forgotten by a pilgrim)
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The Baldacchino. Rome, St. Peter's
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NW and NE columns of Baldacchino upper section. view W from crossing
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The Baldacchino. Rome, St. Peter's
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Base of SE column, S side, lowest third of Solomonic Column
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The Baldacchino. Rome, St. Peter's
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Base of SE column, W side, with a fly (facing papal altar)
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The Baldacchino. Rome, St. Peter's
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SE corner of Baldacchino, with Cathedra behind, Pope saying mass
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The Baldacchino. Rome, St. Peter's
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Detail view upward of E side of superstructure: Putti w tiara & entablature hangings, seen from crossing
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The Baldacchino. Rome, St. Peter's
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Detail view upward of SE corner of superstructure: entablature block, bronze angel, bottom of scroll, from below right
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The Baldacchino. Rome, St. Peter's
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Overall view of Baldacchino and Apse from niche of St. Andrew, during papal mass
