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 Baldacchino. Rome, St. Peter's
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Detail of NE column capital, upper column section, dove of Holy Spirit
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The Baldacchino. Rome, St. Peter's
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Base of SE column, W side with wedges for plumbing the column
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The Baldacchino. Rome, St. Peter's
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Base of SE column, N side with wedges in place for plumbing the column
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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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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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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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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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SE corner of Baldacchino, with Cathedra behind, Pope saying mass
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The Baldacchino. Rome, St. Peter's
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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
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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
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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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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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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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NW and NE columns of Baldacchino upper section. view W from crossing
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The Ballast Man
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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 colour he was able to give free reign to his taste for lyricism and harmony.
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The Ballast Man (detail)
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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 colour he was able to give free reign to his taste for lyricism and harmony.
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The Bathers (Men Bathing)
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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 colour, 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.
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The Belgian Painter Eugene Bloch (1855-1941)(detail) Portrait of Eugene Boch
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He wrote beautiful letters. Tracing his intellectual sources, we found things we didn't know before," researcher Leo Jansen said. "We can see the complete scope of his visual input." In one case, the researchers deciphered a note from van Gogh to Paul Gauguin that had been scribbled and then erased on the back of a sketch that the Dutchman sent to a friend, Eugene Boch. The note told Gauguin that, like a diamond from deep in the earth, art comes from deep within the artist, and urged Gauguin, "not to lower our prices," said Jansen.
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The Belgian Painter Eugene Bloch (1855-1941) Portrait of Eugene Boch
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He wrote beautiful letters. Tracing his intellectual sources, we found things we didn't know before," researcher Leo Jansen said. "We can see the complete scope of his visual input." In one case, the researchers deciphered a note from van Gogh to Paul Gauguin that had been scribbled and then erased on the back of a sketch that the Dutchman sent to a friend, Eugene Boch. The note told Gauguin that, like a diamond from deep in the earth, art comes from deep within the artist, and urged Gauguin, "not to lower our prices," said Jansen.
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The Benediction
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The topic is the prayer preceding the meal, treated by the Dutch Masters of the 18th century, is reinterpreted in this scene filled with tenderness and reserve. This is one of most famous works of Chardin. His technical skill gave his paintings an uncannily realistic texture. He rendered forms by means of light by using thick, layered brushstrokes and thin, luminous glazes. Called the grand magician by critics, he achieved a mastery in these areas unequaled by any other 18th-century painter. Chardin's early support came from aristocratic patrons, including King Louis XV.
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The Benediction (detail)
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The topic is the prayer preceding the meal, treated by the Dutch Masters of the 18th century, is reinterpreted in this scene filled with tenderness and reserve. This is one of most famous works of Chardin. His technical skill gave his paintings an uncannily realistic texture. He rendered forms by means of light by using thick, layered brushstrokes and thin, luminous glazes. Called the grand magician by critics, he achieved a mastery in these areas unequaled by any other 18th-century painter. Chardin's early support came from aristocratic patrons, including King Louis XV.
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The Billiard Room Billiard Room at Menil-Hubert
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After 1880, Pastel became Degas's preferred medium. For the poses,Although he became guarded and withdrawn late in life, Degas retained strong friendships with literary people.
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The Birth of Venus
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The action of the picture is quickly understood. Venus has emerged from the sea on a shell which is driven to the shore by flying wind-gods amidst a shower of roses. As she is about to step on to the land, one of the Hours or Nymphs receives her with a purple cloak. Botticelli's Venus is so beautiful that we do not notice the unnatural length of her neck, the steep fall of her shoulders and the queer way her left arm is hinged to the body. Or, rather, we should say that these liberties which Botticelli took with nature in order to achieve a graceful outline add to the beauty and harmony of the design because they enhance the impression of an infinitely gender and delicate being, wafted to our shores as a gift from Heaven.
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The Birth of Venus (detail)
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The painting was executed for the villa of Lorenzo di Pierfrancesco de' Medici at Castello. The patron who commissioned the Botticelli painting for his country villa was a member of the rich and powerful family of the Medici. Either he himself, or one of his learned friends, probably explained to the painter what was known of the way the ancients had represented Venus rising from the sea. To these scholars the story of her birth was the symbol of mystery through which the divine message of beauty came into the world.
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The Birth of Venus (detail)
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Botticelli took liberties with nature in order to achieve a graceful outline add to the beauty and harmony of the design because they enhance the impression of an infinitely gender and delicate being, wafted to our shores as a gift from Heaven.
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The Birth of Venus (detail)
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The scene represents Venus, born of the sea, being sped by Zephir towards land, where an Hour is ready to cover her with a beautiful cloack. This mythological subject was very important in Renaissance literature and philosopy, so the scene can hint different allegorical means. The canvas certainly reflects the presence of Botticelli among the Florentine humanistic circle and his study on classical sculpture, since this celebrated Venus recalls many ancient statues of the goddess.
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The Birth of Venus (detail)
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The scene represents Venus, born of the sea, being sped by Zephir towards land, where Pomona is ready to cover her with a beautiful cloak.
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The Birth of Venus (detail)
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The picture was probably realized on behalf of Lorenzo di Pierfrancesco de' Medici or otherwise commissioned to be presented to him. In his villa at Castello, near Florence, the painting is documented at the half of the 16th century, as well as two other masterworks by Botticelli, the Primavera and Pallas and the Centaur (both at the Uffizi). The scene represents Venus, born of the sea, being sped by Zephir towards land, where an Hour is ready to cover her with a beautiful cloak.
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The Campidoglio (1998)
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Close detail: grand staircase with fountain of Minerva/Roma, pavement, river god Tiber, grand portico
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The Campidoglio (1998)
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View NE from stair landing: Capitoline Museum, staircases, fountain, river god Tiber
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The Campidoglio (1998)
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General view of the complex from SW, with Capitoline Museum, paving, sculpture and Palace of Senators
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The Campidoglio (1998)
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View NE into the complex from Via delle Tre Tile, w Roman Horse Tamers and Trophies of War
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The Campidoglio (1998)
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Raking view of Fatade of Palace of Senators, with grand staircase and marble sculptures, incl. River god Nile, fr. N
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The Campidoglio (1998)
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Detail: sculptural detail, Palace of Senators, with Marcus Aurelius, from NNW
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The Campidoglio (1998)
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Closer view of Palace of Senators, with Marcus Aurelius and marble sculpture
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The Card Players
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It is the image of a pure contemplativeness without pathos. Given the symmetry of the two card players looking fixedly at their cards, Cezanne had to surmount the rigidity and obviousness of the pair and yet preserve the gravity of their absorbed attitudes. It is remarkable how thoroughly interesting is this perfectly legible picture, how rich in effective inventions of color and form.
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The Cliff
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The monumentality of the famous cliffs at the coastal resort of Etretat in Normandy is not typical of most of Monet's other subjects. He usually chose a quiet corner of a meadow or stretch of river for his landscapes. The Etretat painting does, however, serve as a typical example of the Impressionist style. There is an emphasis on atmospheric conditions and the effects of light as the day progresses. Colors are vibrant and applied to the canvas in separated brushstrokes that create the illusion of motion in the water. Close examination of the setting sun reveals Monet's technique of applying one color of paint over another while still wet, achieving a partial mixture of colors but not a blending.
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The Cliffs at Etretat after a Storm (detail) The Cliff at Etretat after the Storm
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The painting was executed in the summer of 1869 at Etretat, at the same time as The Wave (or The Stormy Sea), and both were sent to the Salon the following year. The paintings almost form a pair, representing, in two acts, the dramatic force of nature; both are images of majestic and colossal energy. In the serenity after the storm, Courbet changes the proportion of land to sea and sky, including here the best-known geological sight of Etretat, the so-called Porte d
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The Cliffs at Etretat after a Storm (detail) The Cliff at Etretat after the Storm
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The painting was executed in the summer of 1869 at Etretat, at the same time as The Wave (or The Stormy Sea), and both were sent to the Salon the following year. The paintings almost form a pair, representing, in two acts, the dramatic force of nature; both are images of majestic and colossal energy. In the serenity after the storm, Courbet changes the proportion of land to sea and sky, including here the best-known geological sight of Etretat, the so-called Porte d
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The Cliffs at Etretat after a Storm (detail) The Cliff at Etretat after the Storm
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The painting was executed in the summer of 1869 at Etretat, at the same time as The Wave (or The Stormy Sea), and both were sent to the Salon the following year. The paintings almost form a pair, representing, in two acts, the dramatic force of nature; both are images of majestic and colossal energy. In the serenity after the storm, Courbet changes the proportion of land to sea and sky, including here the best-known geological sight of Etretat, the so-called Porte d
