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 Combat of Love and Chastity (detail) The Combat of Love and Chastity : Triumph of Chastity
Unknown
Giorgio Vasari, a 16th-century biographer and artist, wrote that the critical Florentines began to lampoon him, and Perugino replied that they had once praised his work, and, if he now gave the same designs, they had no right to blame him. It is certainly true that the
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The Combat of Love and Chastity The Combat of Love and Chastity : Triumph of Chastity
Unknown
Giorgio Vasari, a 16th-century biographer and artist, wrote that the critical Florentines began to lampoon him, and Perugino replied that they had once praised his work, and, if he now gave the same designs, they had no right to blame him. It is certainly true that the
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Death of Sardanapalus (detail)
Unknown
A passionate, anarchical, and emotional painting a riot of excess, eroticism, and sadism. One of the most romantic paintings of the Romantic epoch; when it was first exhibited it produced a frisson of admiration mixed with horror at the barbarism of the image. The painting shows King Sardanapalus whose empire was being ravaged by the Medes, apparently unconcerned that his life, time, and empire have come to a crushing end. It illustrates the legend of King Assyrien who, besieged, had cut the throats of his wives and his horses, before following them in death.
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The Death of Sardanapalus (detail)
Unknown
A passionate, anarchical, and emotional painting a riot of excess, eroticism, and sadism. One of the most romantic paintings of the Romantic epoch; when it was first exhibited it produced a frisson of admiration mixed with horror at the barbarism of the image. The painting shows King Sardanapalus whose empire was being ravaged by the Medes, apparently unconcerned that his life, time, and empire have come to a crushing end. It illustrates the legend of King Assyrien who, besieged, had cut the throats of his wives and his horses, before following them in death.
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The Death of Sardanapalus (detail)
Unknown
A passionate, anarchical, and emotional painting a riot of excess, eroticism, and sadism. One of the most romantic paintings of the Romantic epoch; when it was first exhibited it produced a frisson of admiration mixed with horror at the barbarism of the image. The painting shows King Sardanapalus whose empire was being ravaged by the Medes, apparently unconcerned that his life, time, and empire have come to a crushing end. It illustrates the legend of King Assyrien who, besieged, had cut the throats of his wives and his horses, before following them in death.
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The Death of Sardanapalus Mort de Sardanapale
Unknown
A passionate, anarchical, and emotional painting a riot of excess, eroticism, and sadism. One of the most romantic paintings of the Romantic epoch; when it was first exhibited it produced a frisson of admiration mixed with horror at the barbarism of the image. The painting shows King Sardanapalus whose empire was being ravaged by the Medes, apparently unconcerned that his life, time, and empire have come to a crushing end. It illustrates the legend of King Assyrien who, besieged, had cut the throats of his wives and his horses, before following them in death.
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The Dioscuri as Horse Tamers. Horse tamers placed in 1588; obelisk erected 1785; fountain of 1818 with stone basin from the Roman Forum
Unknown
Castor & Pollux, inscribed "OPVS PRAXITELES", view fr W, with Palazzo della Consulta
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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
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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
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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
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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
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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
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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.
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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.
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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.
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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
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The East Pediment, Temple of Aphaia at Aegina, with Figures of the Archer and Fallen Warrior
Unknown
Detail of the Greek
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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
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The East Pediment, Temple of Aphaia at Aegina, with Figures of the Archer and Fallen Warrior
Unknown
The Fallen Warrior (King Laomedon)
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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
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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
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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
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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
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The East Pediment, Temple of Aphaia at Aegina, with Figures of the Archer and Fallen Warrior
Unknown
Closer view of the two figures
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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.
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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.
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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
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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
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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
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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
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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
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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
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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
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The Feast in the House of Levi
Unknown
Detail at left center: Man in green closk with negro boy and dwarf
