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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Allegory of Painting The Artist in His Studio : The Art of Painting
Unknown
His model poses with the attributes of Clio, the Muse of History: the laurel wreath, the trumpet and a book. Equally important to the allegory are the elements of a still life on the table: treatises on painting, a mask or sculpting study and a sketch book. The map of the 17 provinces of the Low Countries before their partition in 1581 is also significant. Probably the allegory, in which illusion and reality flow together, is to be understood on many different levels: the Muse of History inspires the painter and proclaims the fame of the regions painting tradition as immortalised in history.
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Amazon on a Horse, Detail
Timotheos (Epigraphic attributions)
Detail of Amazon, slight rear view, detail of drapery
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A Meat Stall with the Holy Family Giving Alms Butcher's Stall
Unknown
In the foreground tables, pots, plates, a barrel, some wickerwork chairs and baskets serve as supports and containers for huge hunks of meat, pig's trotters, soups, chains of sausages hanging down and freshly slaughtered poultry. In the background there is an open, shingle-roofed studded stable with a pole from which further pieces of meat are suspended, including a pig's head, a twisted sausage and some lard. Through the stable we can see a garden scene. On the right, in the middle ground, a farmer is filling a large jug, and behind him we can see a slaughtered and gutted pig, a motif which Beuckelaer also used as an independent motif, as did Rembrandt later (where the animal is a slaughtered ox).
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A Meat Stall with the Holy Family Giving Alms (detail) Butcher's Stall
Unknown
In the 16th and 17th centuries it was quite common for theologians to see a slaughtered animal as symbolizing the death of a believer. Allusions to the 'weak flesh' (cf. Matthew 16:41) may well have been associated with Aertsen's Butcher's Stall where - like on his fruit and vegetable stalls - a seemingly infinite abundance of meat has been spread out.
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A Meat Stall with the Holy Family Giving Alms (detail) Butcher's Stall
Unknown
Pieter Aertsen was one of the first artists to paint "inverted still life's," works in which the still-life elements are placed prominently in the foreground, while the narrative elements are relegated to the background. A Meat Stall is Aertsen's masterpiece in this genre. A feast for the mind as well as the eyes, this remarkably executed painting abounds with rich symbolism. The juxtaposition of the precisely rendered meats and other foods with the Holy Family in the background symbolically links food for the body with the spiritual "bread of life"- food for the soul, represented by the Christ child and the bread, offered by Mary to the poor family.
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Ancient Theatre at the Asklepieion of Epidaurus, A
Polykleitos the Younger Architect
Elevated view from east of the theater's seating
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Ancient Theatre at the Asklepieion of Epidaurus, B
Polykleitos the Younger Architect
Closer view of orchestra and central stage from east
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Ancient Theatre at the Asklepieion of Epidaurus, C
Polykleitos the Younger Architect
View of tiered, stone seating from southeast
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Ancient Theatre at the Asklepieion of Epidaurus, D
Polykleitos the Younger Architect
Overall view down from uppermost seats facing orchestra from northeast
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Ancient Theatre at the Asklepieion of Epidaurus, E
Polykleitos the Younger Architect
Overall view Northeast from outside the seating area from southwest
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Ancient Theatre at the Asklepieion of Epidaurus, F
Polykleitos the Younger Architect
Detail of entrance, retaining wall and seats, from east view
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Ang
Unknown
Manet also introduced the technique of lighting faces or figures from the front, almost eliminating shadows. This method, called peinture claire, is now considered one of the basic technical contributions of 19th-century art. Manet, who preferred to paint from nature, chose to picture things in the present and as he saw them. In addition to a representation of the object painted, Manet perceived his work as an arrangement of paint areas on a canvas.
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Annunciation and Nativity (Altarpiece of Observation) (detail)
Unknown
The main panel and the predella formed the altarpiece of the church of Observation in Bologna. At both sides of the predella there were two small paintings representing St Clare and St Catherine of Alexandria, presently both in the Thyssen collection in Madrid. The altarpiece was attributed to Mantegna until the end of the 19th century.
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Annunciation and Nativity (Altarpiece of Observation) (detail)
Unknown
The main panel and the predella formed the altarpiece of the church of Observation in Bologna. At both sides of the predella there were two small paintings representing St Clare and St Catherine of Alexandria, presently both in the Thyssen collection in Madrid. The altarpiece was attributed to Mantegna until the end of the 19th century.
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Annunciation and Nativity (Altarpiece of Observation) (detail)
Unknown
The main panel and the predella formed the altarpiece of the church of Observation in Bologna. At both sides of the predella there were two small paintings representing St Clare and St Catherine of Alexandria, presently both in the Thyssen collection in Madrid. The altarpiece was attributed to Mantegna until the end of the 19th century.
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Annunciation with Saints Ansanus and Margherita (detail) The Annunciation and two Saints
Unknown
The altarpiece was executed between 1329 and 1333 for the chapel of Sant'Ansano of the Cathedral in Siena by Simone Martini and his brother-in-law Lippo Memmi, to whom are attributed the two lateral figures: saint Ansano - patron of Siena - and saint Giulitta. On the gold background the figures of Angel Gabriel and the Virgin enhances Gothic line, without narrative details: just the central pot with lilies, symbolizing Mary's purity, and the olive branch. The golden relief inscription starting from the Angel's mouth contains beginning words of the Annunciation.
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Annunciation with Saints Ansanus and Margherita (detail) The Annunciation and two Saints
Unknown
On the gold background the figures of Angel Gabriel and the Virgin enhances Gothic line, without narrative details: just the central pot with lilies, symbolizing Mary's purity, and the olive branch. The golden relief inscription starting from the Angel's mouth contains beginning words of the Annunciation.
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Annunciation with Saints Ansanus and Margherita (detail) The Annunciation and two Saints
Unknown
From the Chapel of Sant'Ansano in the Cathedral of Siena. A late work in which the precious enamel of the color and the vibrant undulation of the line are carried to the very highest degree. The two lateral saints, St Ansanus and St Margaret, were painted on Simone's design by his pupil and brother-in-law Lippo Memmi.
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Annunciation with Saints Ansanus and Margherita (detail) The Annunciation and two Saints
Unknown
The altarpiece was executed between 1329 and 1333 for the chapel of Sant'Ansano of the Cathedral in Siena by Simone Martini and his brother-in-law Lippo Memmi, to whom are attributed the two lateral figures: Saint Ansano - patron of Siena - and Saint Giulitta. On the gold background the figures of Angel Gabriel and the Virgin enhances Gothic line, without narrative details: just the central pot with lilies, symbolizing Mary's purity, and the olive branch. The golden relief inscription starting from the Angel's mouth contains beginning words of the Annunciation.
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Annunciation with Saints Ansanus and Margherita (detail) The Annunciation and two Saints
Unknown
The altarpiece was executed between 1329 and 1333 for the chapel of Sant'Ansano of the Cathedral in Siena by Simone Martini and his brother-in-law Lippo Memmi, to whom are attributed the two lateral figures: Saint Ansano - patron of Siena - and Saint Giulitta. On the gold background the figures of Angel Gabriel and the Virgin enhances Gothic line, without narrative details: just the central pot with lilies, symbolizing Mary's purity, and the olive branch. The golden relief inscription starting from the Angel's mouth contains beginning words of the Annunciation.
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Annunciation with Saints Ansanus and Margherita (detail) The Annunciation and two Saints
Unknown
The altarpiece was executed between 1329 and 1333 for the chapel of Sant'Ansano of the Cathedral in Siena by Simone Martini and his brother-in-law Lippo Memmi, to whom are attributed the two lateral figures: Saint Ansano - patron of Siena - and Saint Giulitta. On the gold background the figures of Angel Gabriel and the Virgin enhances Gothic line, without narrative details.
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Apotheosis of Homer (detail)
Unknown
The Apotheosis of Homer, which hung in the same 1827 Salon as Delacroix's Death of Sarda-napalus, is the largest of Ingres's Raphaelesque paintings, but is no nearer to pastiche than any of the others. This modern version of Raphael's Parnassus not only proclaimed the stylistic values of the classical tradition but also tried to equal the iconography of The School of Athens in its reunion of great men of ancient and modern times in the realms of literature and the arts.
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Apotheosis of Homer (detail)
Unknown
The Apotheosis of Homer, which hung in the same 1827 Salon as Delacroix's Death of Sarda-napalus, is the largest of Ingres's Raphaelesque paintings, but is no nearer to pastiche than any of the others. This modern version of Raphael's Parnassus not only proclaimed the stylistic values of the classical tradition but also tried to equal the iconography of The School of Athens in its reunion of great men of ancient and modern times in the realms of literature and the arts.
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Apotheosis of Homer (detail)
Unknown
The Apotheosis of Homer, which hung in the same 1827 Salon as Delacroix's Death of Sarda-napalus, is the largest of Ingres's Raphaelesque paintings, but is no nearer to pastiche than any of the others. This modern version of Raphael's Parnassus not only proclaimed the stylistic values of the classical tradition but also tried to equal the iconography of The School of Athens in its reunion of great men of ancient and modern times in the realms of literature and the arts.
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Apotheosis of Homer (detail)
Unknown
The Apotheosis of Homer, which hung in the same 1827 Salon as Delacroix's Death of Sarda-napalus, is the largest of Ingres's Raphaelesque paintings, but is no nearer to pastiche than any of the others. This modern version of Raphael's Parnassus not only proclaimed the stylistic values of the classical tradition but also tried to equal the iconography of The School of Athens in its reunion of great men of ancient and modern times in the realms of literature and the arts.
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Apotheosis of Homer (detail)
Unknown
The Apotheosis of Homer, which hung in the same 1827 Salon as Delacroix's Death of Sarda-napalus, is the largest of Ingres's Raphaelesque paintings, but is no nearer to pastiche than any of the others. This modern version of Raphael's Parnassus not only proclaimed the stylistic values of the classical tradition but also tried to equal the iconography of The School of Athens in its reunion of great men of ancient and modern times in the realms of literature and the arts.
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Apple Trees in Blossom
Unknown
As the 1870s began, Monet continued his pursuit of natural phenomena. In order to avoid the Franco-German War, he left his son and Camille, whom he had just married, and traveled to London. There, with Pissarro, he was introduced by Daubigny to Paul Durand-Ruel, who was to become his dealer. In 1871 and 1872 he painted canals, boats, and windmills in The Netherlands and worked again at Le Havre.
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Apple Trees in Blossom (detail)
Unknown
As the 1870s began, Monet continued his pursuit of natural phenomena. In order to avoid the Franco-German War, he left his son and Camille, whom he had just married, and traveled to London. There, with Pissarro, he was introduced by Daubigny to Paul Durand-Ruel, who was to become his dealer. In 1871 and 1872 he painted canals, boats, and windmills in The Netherlands and worked again at Le Havre.
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Aqueduct of Emperor Valens (r.364-378). 26.5m high at highest point
Unknown
Closer view of one arch, showing brickword
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Ara Pacis Augustae
Unknown
Second panel of left long side: Senators and high magistrates. The central veiled figure may be the "pontifex maximus"
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Ara Pacis Augustae
Unknown
Sacrifice of Aeneas (as a bearded man) from the entrance side. With decorative pilaster, acanthus dado, and meander frieze
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Ara Pacis Augustae
Unknown
Third panel of left long side (with part of heavily damaged fourth panel). All high-reliefs are of modern time
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Ara Pacis Augustae
Unknown
General view of long side: Imperial Procession, meander frieze and lavish acanthus dado
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Ara Pacis Augustae
Unknown
Close detail: Antonia minor, Drusus and Germanicus, Antonia major & Lucius Domitius Ahenobarbus w. their children
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Ara Pacis Augustae
Unknown
First panel (closest to entrance on the long side): two lictors leading the procession, senators and a veiled high priest
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Ara Pacis Augustae
Unknown
Close det: the lictor proximus, Augustus (w arm outstretched), flanked by two consuls for the year 13 BC (one of whom would have been Tiberius)
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Archaic Statues of the Brothers Cleobis and Biton, Biton Bust Detail
Polyimides of Argos Sculptor
Head of Biton from left front
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Archaic Statues of the Brothers Cleobis and Biton, Biton Front Left
Polyimides of Argos Sculptor
View of Biton from front left
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Archaic Statues of the Brothers Cleobis and Biton, Front Full
Polyimides of Argos Sculptor
Total from front center
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Archaic Statues of the Brothers Cleobis and Biton, Left Rear
Polyimides of Argos Sculptor
3/4 length from left rear
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Archaic Temple of Apollo, Doric Columns
Unknown
Close detail of remaining Doric columns and surface deterioration of the foundation
