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.
-
The Dresden Altar (detail) The Dresden Altarpiece
Unknown
The altarpiece was commissioned by Frederick the Wise for the church of the Wittenberg Castle. The altarpiece was in the Kunstkammer in Dresden as early as 1687 which explains its name. The central panel depicts Mary adoring the Child, while the side wings represent St Anthony and St Sebastian. The central panel, displayed with the side panels in the Gem
-
The Dresden Altar (detail) The Dresden Altarpiece
Unknown
The altarpiece was commissioned by Frederick the Wise for the church of the Wittenberg Castle. The altarpiece was in the Kunstkammer in Dresden as early as 1687 which explains its name. The central panel depicts Mary adoring the Child, while the side wings represent St Anthony and St Sebastian. The central panel, displayed with the side panels in the Gem
-
The Dresden Altar (detail) The Dresden Altarpiece
Unknown
The altarpiece was commissioned by Frederick the Wise for the church of the Wittenberg Castle. The altarpiece was in the Kunstkammer in Dresden as early as 1687 which explains its name. The central panel depicts Mary adoring the Child, while the side wings represent St Anthony and St Sebastian. The central panel, displayed with the side panels in the Gem
-
The Dresden Altar (detail) The Dresden Altarpiece
Unknown
The altarpiece was commissioned by Frederick the Wise for the church of the Wittenberg Castle. The altarpiece was in the Kunstkammer in Dresden as early as 1687 which explains its name. The central panel depicts Mary adoring the Child, while the side wings represent St Anthony and St Sebastian. The central panel, displayed with the side panels in the Gem
-
The Dresden Altar The Dresden Altarpiece
Unknown
The altarpiece was commissioned by Frederick the Wise for the church of the Wittenberg Castle. The altarpiece was in the Kunstkammer in Dresden as early as 1687 which explains its name. The central panel depicts Mary adoring the Child, while the side wings represent St Anthony and St Sebastian. The central panel, displayed with the side panels in the Gem
-
The Drunken Silenus, mon (detail) Drunken Silenus supported by Satyrs
Unknown
Silenus was the teacher and companion of Bacchus, the god of wine; he is often shown supported by satyrs because of his age and drunken condition. At the lower right two putti offer him grapes, while above them an old Bacchante carries a torch. On the left a figure plays pipes, and a young Bacchante squeezes grapes over Silenus. The painting is thought to have been executed in Rubens' studio. The sky and landscape are probably by Jan Wildens, and the foliage and fruit by Frans Snijders. The design of the figures may have been executed by a member of the studio, possibly Van Dyck, and then reworked by Rubens himself.
-
The Drunken Silenus, mon (detail) Drunken Silenus supported by Satyrs
Unknown
Silenus was the teacher and companion of Bacchus, the god of wine; he is often shown supported by satyrs because of his age and drunken condition. At the lower right two putti offer him grapes, while above them an old Bacchante carries a torch. On the left a figure playes pipes, and a young Bacchante squeezes grapes over Silenus. The painting is thought to have been executed in Rubens' studio. The sky and landscape are probably by Jan Wildens, and the foliage and fruit by Frans Snijders. The design of the figures may have been executed by a member of the studio, possibly Van Dyck, and then reworked by Rubens himself.
-
The Drunken Silenus, mon Drunken Silenus supported by Satyrs
Unknown
Silenus was the teacher and companion of Bacchus, the god of wine; he is often shown supported by satyrs because of his age and drunken condition. At the lower right two putti offer him grapes, while above them an old Bacchante carries a torch. On the left a figure playes pipes, and a young Bacchante squeezes grapes over Silenus. The painting is thought to have been executed in Rubens' studio. The sky and landscape are probably by Jan Wildens, and the foliage and fruit by Frans Snijders. The design of the figures may have been executed by a member of the studio, possibly Van Dyck, and then reworked by Rubens himself.
-
The East Pediment, Temple of Aphaia at Aegina, with Figures of the Archer and Fallen Warrior
Unknown
General view of north half, from the front
-
The East Pediment, Temple of Aphaia at Aegina, with Figures of the Archer and Fallen Warrior
Unknown
Detail of the Greek
-
The East Pediment, Temple of Aphaia at Aegina, with Figures of the Archer and Fallen Warrior
Unknown
Detail of the archer, frontal view of face
-
The East Pediment, Temple of Aphaia at Aegina, with Figures of the Archer and Fallen Warrior
Unknown
Pair of warriors to right of Athena, in combat. left identified as Priamos
-
The East Pediment, Temple of Aphaia at Aegina, with Figures of the Archer and Fallen Warrior
Unknown
The Fallen Warrior (King Laomedon)
-
The East Pediment, Temple of Aphaia at Aegina, with Figures of the Archer and Fallen Warrior
Unknown
Detail of upper part of body, holding shield
-
The East Pediment, Temple of Aphaia at Aegina, with Figures of the Archer and Fallen Warrior
Unknown
Closer view of the two figures
-
The East Pediment, Temple of Aphaia at Aegina, with Figures of the Archer and Fallen Warrior
Unknown
Second warrior to the right of Athena, falling back wounded
-
The East Pediment, Temple of Aphaia at Aegina, with Figures of the Archer and Fallen Warrior
Unknown
The Archer (Hercules) and a Greek carrying a helmet and fallen warrior to the right
-
The Effects of Good Government (detail) Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The Allegory of the Good Goverment is situated on the smaller wall opposite to the windows. The composition is built up from three horizontal bands. In the foreground the figures of contemporary Siena are represented. One of which is a wedding party passing a small Siena shop.
-
The Effects of Good Government in the Countryside (detail) Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The countryside around Siena is the setting for farming, trade and hunting scenes.
-
The Family of King Charles IV of Spain Charles IV and His Family
Unknown
This is one of the first official portraits, if not the first, that Goya executed on the occasion of the crowning of the new Spanish reigning couple. Charles IV (1748-1819) king of Spain 1788-1808, son and successor of Charles III. He was a weak monarch dominated by his wife Maria Luisa of Parma and her lover, Manuel de Godoy, whom he appointed Prime Minister in 1792. Under Charles
-
The Family of King Charles IV of Spain Charles IV and his Family
Unknown
This is one of the first official portraits, if not the first, that Goya executed on the occasion of the crowning of the new Spanish reigning couple. Charles IV (1748-1819) king of Spain 1788-1808, son and successor of Charles III. He was a weak monarch dominated by his wife Maria Luisa of Parma and her lover, Manuel de Godoy, whom he appointed Prime Minister in 1792. Under Charles
-
The Family of King Charles IV of Spain Charles IV and his Family
Unknown
This is one of the first official portraits, if not the first, that Goya executed on the occasion of the crowning of the new Spanish reigning couple. Charles IV (1748-1819) king of Spain 1788-1808, son and successor of Charles III. He was a weak monarch dominated by his wife Maria Luisa of Parma and her lover, Manuel de Godoy, whom he appointed Prime Minister in 1792. Under Charles
-
The Family of King Charles IV of Spain Charles IV and his Family
Unknown
This is one of the first official portraits, if not the first, that Goya executed on the occasion of the crowning of the new Spanish reigning couple. Charles IV (1748-1819) king of Spain 1788-1808, son and successor of Charles III. He was a weak monarch dominated by his wife Maria Luisa of Parma and her lover, Manuel de Godoy, whom he appointed Prime Minister in 1792. Under Charles
-
The Family of King Charles IV of Spain Charles IV and his Family
Unknown
This is one of the first official portraits, if not the first, that Goya executed on the occasion of the crowning of the new Spanish reigning couple. Charles IV (1748-1819) king of Spain 1788-1808, son and successor of Charles III. He was a weak monarch dominated by his wife Maria Luisa of Parma and her lover, Manuel de Godoy, whom he appointed Prime Minister in 1792. Under Charles
-
The Family of King Charles IV of Spain Charles IV and his Family
Unknown
This is one of the first official portraits, if not the first, that Goya executed on the occasion of the crowning of the new Spanish reigning couple. Charles IV (1748-1819) king of Spain 1788-1808, son and successor of Charles III. He was a weak monarch dominated by his wife Maria Luisa of Parma and her lover, Manuel de Godoy, whom he appointed Prime Minister in 1792. Under Charles
-
The Family of King Charles IV of Spain (detail) Charles IV and his Family
Unknown
Charles IV (1748-1819) king of Spain 1788-1808, son and successor of Charles III, was a weak monarch dominated by his wife Maria Luisa of Parma and her lover, Manuel de Godoy, whom he appointed Prime Minister in 1792. Under Charles
-
The Feast in the House of Levi
Unknown
Detail at left center: Man in green closk with negro boy and dwarf
-
The Feast in the House of Levi
Unknown
Left portion: Men at table, Landsknechts, and architectural background
-
The Feast in the House of Levi
Unknown
Detail at right center: fat man in striped tunic with negro man in red
-
The Feast in the House of Levi
Unknown
Right portion: Men at table, negro servants, architectural background
-
The Funeral at Ornans A Burial at Ornans
Unknown
The painting belonged to Juliette Courbet, who gave it to the State in 1881. The composition, exhibited at the Salon in 1850-1851, was conceived and executed in Ornans. This masterpiece by Courbet is highly important since it depicts a religious rite within the social reality of its time. The figures are portrayed as they celebrate a Christian rite, a funeral, not in the sacredness of a church. In the painting, approximately fifty fellow townspeople are represented, such as the painter
-
The Funeral at Ornans (detail) A Burial at Ornans
Unknown
The painting belonged to Juliette Courbet, who gave it to the State in 1881. The composition, exhibited at the Salon in 1850-1851, was conceived and executed in Ornans. This masterpiece by Courbet is highly important since it depicts a religious rite within the social reality of its time. The figures are portrayed as they celebrate a Christian rite, a funeral, not in the sacredness of a church. In the painting, approximately fifty fellow townspeople are represented, such as the painter
-
The Funeral at Ornans (detail) A Burial at Ornans
Unknown
The painting belonged to Juliette Courbet, who gave it to the State in 1881. The composition, exhibited at the Salon in 1850-1851, was conceived and executed in Ornans. This masterpiece by Courbet is highly important since it depicts a religious rite within the social reality of its time. The figures are portrayed as they celebrate a Christian rite, a funeral, not in the sacredness of a church. In the painting, approximately fifty fellow townspeople are represented, such as the painter
-
The Funeral at Ornans (detail) A Burial at Ornans
Unknown
The painting belonged to Juliette Courbet, who gave it to the State in 1881. The composition, exhibited at the Salon in 1850-1851, was conceived and executed in Ornans. This masterpiece by Courbet is highly important since it depicts a religious rite within the social reality of its time. The figures are portrayed as they celebrate a Christian rite, a funeral, not in the sacredness of a church. In the painting, approximately fifty fellow townspeople are represented, such as the painter
-
The Funeral at Ornans (detail) A Burial at Ornans
Unknown
The painting belonged to Juliette Courbet, who gave it to the State in 1881. The composition, exhibited at the Salon in 1850-1851, was conceived and executed in Ornans. This masterpiece by Courbet is highly important since it depicts a religious rite within the social reality of its time. The figures are portrayed as they celebrate a Christian rite, a funeral, not in the sacredness of a church. In the painting, approximately fifty fellow townspeople are represented, such as the painter
-
The Garden of Earthly Delights (central panel) (detail) Garden of Delights
Unknown
Various attempts have been made to relate these fantasies to the realities of his own day. For instance, some of the sexually related visions have been related to the creed of the Adamites, a hereticel sect of the day advocating, at least in theory, sexual freedom like that in Eden. But the most promising line has been to recognize many of them as illustrations of proverbs. This approach also provides a link between these fantasies and Bosch's other work, such as the Cure of Folly or Haywain, and between Bosch's later work and Bruegel's in the middle of the sixteenth century: though without Bosch's satanic profusion, Bruegel also made illustrations of proverbs in this way.
-
The Garden of Earthly Delights (central panel) (detail) Garden of Delights
Unknown
Various attempts have been made to relate these fantasies to the realities of his own day. For instance, some of the sexually related visions have been related to the creed of the Adamites, a heretical sect of the day advocating, at least in theory, sexual freedom like that in Eden. But the most promising line has been to recognize many of them as illustrations of proverbs. This approach also provides a link between these fantasies and Bosch's other work, such as the Cure of Folly or Haywain, and between Bosch's later work and Bruegel's in the middle of the sixteenth century: though without Bosch's satanic profusion, Bruegel also made illustrations of proverbs in this way.
-
The Garden of Earthly Delights (central panel) (detail) Garden of Delights
Unknown
Some art critics believe that Bosch may have painted this work as an illustration of the beliefs of a heretical sect, called the Adamites -from the nakedness of Adam- which believed in nudism and free sexual relations. In general, however, it is thought that, as is the case throughout Bosch's work, that it is a moral satire on the destiny of human nature, with a great number of symbols that still have not been satisfactorily interpreted.
-
The Garden of Earthly Delights (central panel) (detail) Garden of Delights
Unknown
The enigmatic and strange fantasies that people the work of Bosch earned him enormous fame even in his own lifetime, and his creations were widely imitated. But nothing either in his own or in his contemporaries' work equals the invention of the Garden of Earthly Delights triptych, justly his most famous painting.
-
The Garden of Earthly Delights (central panel) (detail) Garden of Delights
Unknown
Various attempts have been made to relate these fantasies to the realities of his own day. For instance, some of the sexually related visions have been related to the creed of the Adamites, a hereticel sect of the day advocating, at least in theory, sexual freedom like that in Eden. But the most promising line has been to recognize many of them as illustrations of proverbs. This approach also provides a link between these fantasies and Bosch's other work, such as the Cure of Folly or Haywain, and between Bosch's later work and Bruegel's in the middle of the sixteenth century: though without Bosch's satanic profusion, Bruegel also made illustrations of proverbs in this way.
-
The Garden of Earthly Delights (central panel) (detail) Garden of Delights
Unknown
The enigmatic and strange fantasies that people the work of Bosch earned him enormous fame even in his own lifetime, and his creations were widely imitated. But nothing either in his own or in his contemporaries' work equals the invention of the Garden of Earthly Delights triptych, justly his most famous painting. In the centre are the worldly pleasures and sins.
-
The Garden of Earthly Delights (central panel) Garden of Delights
Unknown
The picture shows the Garden of Delights. The enigmatic and strange fantasies that people the work of Bosch earned him enormous fame even in his own lifetime, and his creations were widely imitated. But nothing either in his own or in his contemporaries' work equals the invention of the Garden of Earthly Delights triptych, justly his most famous painting. These may be illustrations of proverbs: for instance, the pair of lovers in the glass bubble would recall the proverb 'Pleasure is as fragile as glass'. This approach also provides a link between these fantasies.
-
The Garden of Earthly Delights Garden of Delights
Unknown
The three paintings in this triptych are the most wonderfully imaginative and enigmatic series of exotic scenes ever depicted in the history of art. Endlessly provocative, almost like some pictorial and philosophical puzzle, the subject matter defies categorization and resists definition altogether. The left panel shows Eve in the Garden of Eden and the right shows the terrors of hell. The center panel is just bewildering beyond description.
-
The Garden of Earthly Delights : Paradise (left wing) (detail) Garden of Delights. : Garden of Eden
Unknown
This is a detail of the left wing representing Paradise (Garden of Eden).
-
The Garden of Earthly Delights : Paradise (left wing) (detail) Garden of Delights. : Garden of Eden
Unknown
This is a detail of the left wing representing Paradise (Garden of Eden).
-
The Garden of Earthly Delights : Paradise (left wing) (detail) The Earthly Paradise (Garden of Eden)
Unknown
This painting was probably made for the private enjoyment of a noble family. It is named for the luscious garden in the central panel, which is filled with cavorting nudes and giant birds and fruit. The triptych depicts the history of the world and the progression of sin. Beginning on the outside shutters with the creation of the world, the story progresses from Adam and Eve and original sin on the left panel to the torments of hell, a dark, icy, yet fiery nightmarish vision, on the right. The Garden of Delights in the center illustrates a world deeply engaged in sinful pleasures.
-
The Getty Center
Unknown
View from grand staircase toward Auditorium (left) and North Building (right)
