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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Neue Staatsgalerie Stuttgart
Unknown
Detail of stairs and architecture leading into circular court from W
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Neue Staatsgalerie Stuttgart
Unknown
View N from inside circular court toward ramp and entrance pavilion
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Neue Staatsgalerie Stuttgart
Unknown
View W from the ramp, with entrance pavilion, glass wall and old building
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Neue Staatsgalerie Stuttgart
Unknown
Exterior view of curving glass wall that defines main reception hall
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Neue Staatsgalerie Stuttgart
Unknown
View W, with principal entrance to the gallery. Terrace with Henry Moore sculpture
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Fair Harvest. (detail)
Unknown
The haystacks were a subject commonly treated by the impressionist painters in this period when they started painting outdoors. Millet had shown the way, Van Gogh painted some around Arles in 1888 and Monet will paint a famous series in 1991. But it was in a farmyard that Gauguin would set-up his easel to paint two women doing imprecise tasks on an large rick of hay. He used the complete range of yellows to give a butter-like thickness to it. The bottom of the painting was worked more quickly and shows the parallel strokes that were one of Gauguin's trademarks.
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Fair Harvest
Unknown
The haystacks were a subject commonly treated by the impressionist painters in this period when they started painting outdoors. Millet had shown the way, Van Gogh painted some around Arles in 1888 and Monet will paint a famous series in 1991. But it was in a farmyard that Gauguin would set-up his easel to paint two women doing imprecise tasks on an large rick of hay. He used the complete range of yellows to give a butter-like thickness to it. The bottom of the painting was worked more quickly and shows the parallel strokes that were one of Gauguin's trademarks.
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Fair Harvest. (detail) Yellow Hay Ricks
Unknown
The haystacks were a subject commonly treated by the impressionist painters in this period when they started painting outdoors. Millet had shown the way, Van Gogh painted some around Arles in 1888 and Monet will paint a famous series in 1991. But it was in a farmyard that Gauguin would set-up his easel to paint two women doing imprecise tasks on an large rick of hay. He used the complete range of yellows to give a butter-like thickness to it. The bottom of the painting was worked more quickly and shows the parallel strokes that were one of Gauguin's trademarks.
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The Meal (The Bananas) (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. Gauguin discovered primitive art, with its flat forms and the violent colors belonging to an untamed nature. And then, with absolute sincerity, he transferred them onto canvas.
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The Meal (The Bananas) (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. Gauguin discovered primitive art, with its flat forms and the violent colors belonging to an untamed nature. And then, with absolute sincerity, he transferred them onto canvas.
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Self Portrait (detail) Portrait of the Artist
Unknown
Painting on wall in background is Gauguin's Manao. In 1891 Gauguin auctioned his paintings to raise money for a voyage to Tahiti, which he undertook that same year. Two years later illness forced him to return to Paris, where, with the critic Charles Morice, he began Noa Noa, a book about Tahiti. Gauguin was able to return to Tahiti in 1895.
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Self Portrait Portrait of the Artist in a hat
Unknown
Painting on wall in background is Gauguin's Manao. In 1891 Gauguin auctioned his paintings to raise money for a voyage to Tahiti, which he undertook that same year. Two years later illness forced him to return to Paris, where, with the critic Charles Morice, he began Noa Noa, a book about Tahiti. Gauguin was able to return to Tahiti in 1895.
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La Danse Mauresque. Panel for la Goulue's booth at the Foire du Tr(ne, Paris
Unknown
Man with goatee
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La Danse Mauresque. Panel for la Goulue's booth at the Foire du Tr(ne, Paris
Unknown
Piano player, gentlemen in top hats
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La Danse Mauresque. Panel for la Goulue's booth at the Foire du Tr(ne, Paris
Unknown
Dancer, ladies hat, brushwork
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La Danse au Moulin-Rouge. Panel for La Goulue's booth at the Foire du Tr(ne, Paris
Unknown
Men, women at left, brushwork
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La Danse au Moulin-Rouge. Panel for La Goulue's booth at the Foire du Tr(ne, Paris
Unknown
Dancer, lady (la Goulue: Louise Weber, 1866-1929), gentleman
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Woman with a Coffeepot
Unknown
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. He chose to rediscover a more substantial reality of simple forms behind the glimmering veil of appearances, an almost Platonic conception of the Mediterranean intellect. "Everything in Nature is modeled after the sphere, the cone and the cylinder. One must learn to paint from these simple figures". Cezanne.
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Woman with a Coffee pot
Unknown
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. He chose to rediscover a more substantial reality of simple forms behind the glimmering veil of appearances, an almost Platonic conception of the Mediterranean intellect. "Everything in Nature is modeled after the sphere, the cone and the cylinder. One must learn to paint from these simple figures". Cezanne.
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Woman with a Coffeepot
Unknown
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. He chose to rediscover a more substantial reality of simple forms behind the glimmering veil of appearances, an almost Platonic conception of the Mediterranean intellect. "Everything in Nature is modeled after the sphere, the cone and the cylinder. One must learn to paint from these simple figures". Cezanne.
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The Card Players
Unknown
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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Self Portrait (detail)
Unknown
Self-portraits not only documents of his appearance over the four decades of his career as a painter; they also indicate a continued self-concern surprising in an artist of classic tendency. In this portrait with the intense right eye, the prominent brow, the beard and mouth sunk into the body with hunched shoulders. This angular form, opposed to the massive roundness of the head and of the shoulder thrust towards us. The duality of round and straight forms appears at first as a contrast of the living and the geometric, but we discover soon that the zigzag of the ornament and the lapel are not altogether distinct from the face; their diagonal angular form recurs, though less rigidly, in the nose and beard and eyebrows.
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Self Portrait
Unknown
Self-portraits not only documents of his appearance over the four decades of his career as a painter; they also indicate a continued self-concern surprising in an artist of classic tendency. In this portrait with the intense right eye, the prominent brow, the beard and mouth sunk into the body with hunched shoulders. This angular form, opposed to the massive roundness of the head and of the shoulder thrust towards us. The duality of round and straight forms appears at first as a contrast of the living and the geometric, but we discover soon that the zigzag of the ornament and the lapel are not altogether distinct from the face; their diagonal angular form recurs, though less rigidly, in the nose and beard and eyebrows.
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The Lunch (in Monet's Garden at Argenteuil). 2nd Impressionist Exhibition
Unknown
Close det: wineglass, silver teapot, brushwork
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The Lunch (in Monet's Garden at Argenteuil). 2nd Impressionist Exhibition
Unknown
Table, still life w wineglass, teapot
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The Lunch (in Monet's Garden at Argenteuil). 2nd Impressionist Exhibition
Unknown
Flowers, foliage, fruit
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The Lunch (in Monet's Garden at Argenteuil). 2nd Impressionist Exhibition
Unknown
Artist's son playing, tablecloth, brushwork
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The Lunch (in Monet's Garden at Argenteuil). 2nd Impressionist Exhibition
Unknown
Straw hats, ladies, flowers, brushwork
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Dance in the City (detail) City Dance (Suzanne Valadon and Eug
Unknown
During his journey to Italy, he discovered Raphael and the hallmarks of classicism: the beauty of drawing, the purity of a clear line to define a form, and the expressive force of smooth painting when used to enhance the suppleness and modeling of a body. Within this painting are his frineds Suzanne Valadon and Eug
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Country Dance (detail) Dance in the Country (Aline Charigot and Paul Lhote)
Unknown
In the 1880s, Renoir abandoned Impressionism for what is often called the
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Dancing in the City City Dance (Suzanne Valadon and Eug
Unknown
During his journey to Italy, he discovered Raphael and the hallmarks of classicism: the beauty of drawing, the purity of a clear line to define a form, and the expressive force of smooth painting when used to enhance the suppleness and modeling of a body. Within this painting are his frineds Suzanne Valadon and Eug
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Country Dance Dance in the Country (Aline Charigot and Paul Lhote)
Unknown
N the 1880s, Renoir abandoned Impressionism for what is often called the
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Blue Water Lilies
Unknown
By his fellow painters Monet was regarded as a leader, not because he was the most intellectual or theoretically minded or because he was able to answer questions that they could not answer, but because in his art he seemed to be more alert to the possibilities latent in their common ideas, which he then developed in his work in a more radical way than did the others. Considering how all these painters developed their intensely personal manners with respect to the new artistic ideas, we may observe that the new elements appeared most often for the first time in the work of Monet and then were taken over by the other Impressionists, who incorporated them as suggestions or as definite means and applied them in their own ways.
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Blue Water Lilies (detail)
Unknown
By his fellow painters Monet was regarded as a leader, not because he was the most intellectual or theoretically minded or because he was able to answer questions that they could not answer, but because in his art he seemed to be more alert to the possibilities latent in their common ideas, which he then developed in his work in a more radical way than did the others. Considering how all these painters developed their intensely personal manners with respect to the new artistic ideas, we may observe that the new elements appeared most often for the first time in the work of Monet and then were taken over by the other Impressionists, who incorporated them as suggestions or as definite means and applied them in their own ways.
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Semiramis Building Babylon (detail)
Unknown
Returning to Paris in 1859, he set up studio in the rue Laval, in the quarter where he was born, and commenced painting several ambitious historical canvases of which S
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Semiramis Building Babylon (detail)
Unknown
This picture, which includes a horse, is based on Semiramide, a popular 18th- and 19th-century opera. Charles Gounod, a favorite of Degas, and Gioachino Rossini are just two composers among half a dozen who were attracted to this story. Degas was familiar with at least one of them.
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Semiramis Building Babylon (detail)
Unknown
This picture, which includes a horse, is based on Semiramide, a popular 18th- and 19th-century opera. Charles Gounod, a favorite of Degas, and Gioachino Rossini are just two composers among half a dozen who were attracted to this story. Degas was familiar with at least one of them.
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The Painter Frederic Bazille (1841-70) At His Easel
Unknown
Artist, canvas, pallet, brushes, brushwork
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Still Life with a Maori Statuette (detail)
Unknown
In his Tahiti period he often painted on unprimed hessian, or sackcloth, and in many of the paintings done at the time the weave of the rough fabric is clearly visible through the paint. This was partly a consequence of his poverty, as was the thinness of the paint in some of his works, but he had begun to experiment with coarse canvas with Van Gogh in 1888, and found that the hairy surface of sackcloth enhanced the "barbaric" qualities he so much admired.
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Still Life with a Maori Statuette (detail) Roses and Statuette
Unknown
"Painting is the most beautiful of all arts. In it, all sensations are condensed; contemplating it, everyone can create a story at the will of his imagination and-with a single glance-have his soul invaded by the most profound recollections; no effort of memory, everything is summed up in one instant. -A complete art which sums up all the others and completes them. -Like music, it acts on the soul through the intermediary of the senses: harmonious colors correspond to the harmonies of sounds. But in painting a unity is obtained which is not possible in music, where the accords follow one another, so that the judgment experiences a continuous fatigue if it wants to reunite the end with the beginning. "
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Still Life with a Maori Statuette Roses and Statuette
Unknown
"Painting is the most beautiful of all arts. In it, all sensations are condensed; contemplating it, everyone can create a story at the will of his imagination and-with a single glance-have his soul invaded by the most profound recollections; no effort of memory, everything is summed up in one instant. -A complete art which sums up all the others and completes them. -Like music, it acts on the soul through the intermediary of the senses: harmonious colors correspond to the harmonies of sounds. But in painting a unity is obtained which is not possible in music, where the accords follow one another, so that the judgment experiences a continuous fatigue if it wants to reunite the end with the beginning. "
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Le Basin aux Nympheas (with Irises) Nympheas (water Lilies)
Unknown
Towards the end of his life, Monet devoted his time to the creation of a stunning garden near the town of Giverny, which became the subject for many of his best loved paintings.
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'Le Basin aux Nympheas' (with Irises) Nympheas (water Lilies)
Unknown
At his home in Giverny, Monet created the water-lily pond that served as inspiration for his last series of paintings.
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The Lattice gate La Barriere
Unknown
Paul Gauguin deepened Van Gogh's impressionistic realism by through psychological visions. He unites the elementarily decorative art of European people with the symbolic organization of the Middle Ages. The Lattice gate, is not only an impressionistic image, the expression value of the area around the girl lends more meaning to the painting. Forms and colors radiate as in a fairy tale of marvelous clarity.
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The Lattice gate La Barriere
Unknown
Paul Gauguin deepened Van Gogh's impressionistic realism through psychological visions. He unites the elementarily decorative art of European people with the symbolic organization of the Middle Ages. The Lattice gate, is not only an impressionistic image, the expression value of the area around the girl lends more meaning to the painting. Forms and colors radiate as in a fairy tale of marvelous clarity.
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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 colour he was able to give free reign to his taste for lyricism and harmony.
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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 colour he was able to give free reign to his taste for lyricism and harmony.
