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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The Annunciation (detail)
Unknown
The picture, commissioned in 1489, was painted for the church of the Florentine convent of Castello (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
The picture, commissioned in 1489, was painted for the church of the Florentine convent of Castello (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.
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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. 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
Unknown
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)
Unknown
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 colors, 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 color 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 Baldacchino. Rome, St. Peter's
Unknown
Detail view upward of southeast 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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Detail view of southeast corner of superstructure, entablature block, angel, scroll, seen from below left
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The Baldacchino. Rome, St. Peter's
Unknown
View into the Apse from the crossing from Niche of St. Andrew, during papal mass
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The Baldacchino. Rome, St. Peter's
Unknown
Base of southeast column, N side with wedges in place for plumbing the column
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The Baldacchino. Rome, St. Peter's
Unknown
Base of southeast column, S side, lowest third of Solomonic Column
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The Baldacchino. Rome, St. Peter's
Unknown
Base of southwest column, W side, detail of rosary (as if forgotten by a pilgrim)
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The Baldacchino. Rome, St. Peter's
Unknown
Diagonal view upward of E side of superstructure, seen from apse
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The Baldacchino. Rome, St. Peter's
Unknown
View of angel from atop Baldacchino, from niche of St. Helen
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The Baldacchino. Rome, St. Peter's
Unknown
Detail of southwest (?) column capital and top third of column, seen from below
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The Baldacchino. Rome, St. Peter's
Unknown
Colossal Angels and Volutes atop Baldacchino, from straight on
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The Baldacchino. Rome, St. Peter's
Unknown
Base of southeast column, W side with wedges for plumbing the column
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The Baldacchino. Rome, St. Peter's
Unknown
southeast and southwest columns of Baldacchino enframing upper and lower niches of St. Andre
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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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southeast and southwest columns framing upper and lower niches of St. Veronica
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The Baldacchino. Rome, St. Peter's
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Close detail of putti holding tiara atop Baldacchino, from niche of St. Helen
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The Baldacchino. Rome, St. Peter's
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Base of northeast column, W side with lizard cast from life
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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
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The Baldacchino. Rome, St. Peter's
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Detail of top section of column from Niche of St. Helen: laurel, putti
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The Baldacchino. Rome, St. Peter's
Unknown
southeast corner of Baldacchino, with Cathedra behind, Pope saying mass
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The Baldacchino. Rome, St. Peter's
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northwest and northeast columns of Baldacchino upper section. view W from crossing
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The Baldacchino. Rome, St. Peter's
Unknown
Base of southwest column, N side with medallion of Pope Urban VIII
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The Baldacchino. Rome, St. Peter's
Unknown
Base of northwest column, N side with acanthus leaves, bees and suns
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The Baldacchino. Rome, St. Peter's
Unknown
Base of southeast column, W side, with a fly (facing papal altar)
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The Baldacchino. Rome, St. Peter's
Unknown
Detail of column's central section, w laurel leaves & putti chasing bees
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The Baldacchino. Rome, St. Peter's
Unknown
Detail of northeast column capital, upper column section, dove of Holy Spirit
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The Ballast Man
Unknown
In 1891 he adopted, under the influence of his colleagues Seurat and Signac, the pointilist technique. He moved to the Midi, where landscapes inspired by the region of the Var became his preferred subject. By means of pure color he was able to give free reign to his taste for lyricism and harmony.
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The Ballast Man (detail)
Unknown
In 1891 he adopted, under the influence of his colleagues Seurat and Signac, the pointilist technique. He moved to the Midi, where landscapes inspired by the region of the Var became his preferred subject. By means of pure color he was able to give free reign to his taste for lyricism and harmony.
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The Bathers (Men Bathing)
Unknown
Although Cezanne used the Impressionist techniques, he emphasized the underlying structure of the objects he painted rather than the objective vision presented by the light that emanated from them, which was the main concern of the Impressionists. Already he was composing with cubic masses and architectonic lines; his strokes, unlike those of the Impressionists, were not strewn with color, but they complemented each other in a chromatic unity. The intelligence and the eye of the painter were able to strip away that which was diffuse and superimposed in the view of a given mass, in order to analyze its constituent elements.
