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 Feast in the House of Levi
Unknown
Right portion: Men at table, negro servants, architectural background
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The Feast in the House of Levi
Unknown
Left portion: Men at table, Landsknechts, and architectural background
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The Feast in the House of Levi
Unknown
Detail at right center: fat man in striped tunic with negro man in red
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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
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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
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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
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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
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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
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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).
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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).
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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.
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The Getty Center
Unknown
View from grand staircase toward Auditorium (left) and North Building (right)
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The Gulf of Marseilles seen from L'Estaque
Unknown
The painting lives through the power of great contrasts: the luminous, richly broken field of reds, oranges, and greens against the blue sea; the modeled wavy mountains, convex, against the filmy, substanceless sky. The broad strata of the landscape are interlocked pairs, forming larger rectangular zones which become more cohesive still through the horizontals in the diagonal fields and the sloping forms in the horizontal. An ever-active touch, responding to the lie or swerve or rise of objects, unites this extended world from point to point. Nothing is perfectly still; the dark water has its pulsations and nuanced mood, and the pure sky, a delicate quivering of ethereal tones.
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The Gymnasium Complex
Unknown
View E from below the museum with Sanctuary of Athena & Tholos at center
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The Hagia Triada Sarcophagus
Unknown
Overall view of one of the long sides, with a scene of a bull sacrifice
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The Hagia Triada Sarcophagus
Unknown
Overall view of the second long side, with figures holding offerings and instruments
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The Hagia Triada Sarcophagus
Unknown
Overall view of the second short side, with a chariot being drawn by wild goats
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The Hagia Triada Sarcophagus
Unknown
Overall view of a short side, with a chariot being drawn by griffins
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The Hagia Triada Sarcophagus
Unknown
Closer view of a robed woman carrying vessels and a man playing a lyre
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The Hermitage at Pontoise
Unknown
`Do not define too closely the outlines of things; it is the brushstroke of the right value and color which should produce the drawing'. A look at this painting shows how Pissarro made this his own practice. `Don't work bit by bit but paint everything at once by placing tones everywhere with brushstrokes of the right color and value...' This has an important bearing on the color harmony so splendidly carried out here. Color is not localized but is picked up like a melody in various parts of the canvas--the blue of the sky in the blue of doors and shadows, the red of the roofs in field and foreground earth--so that all comes into happy relation.
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The Hermitage at Pontoise (detail)
Unknown
`Do not define too closely the outlines of things; it is the brushstroke of the right value and color which should produce the drawing'. A look at this painting shows how Pissarro made this his own practice. `Don't work bit by bit but paint everything at once by placing tones everywhere with brushstrokes of the right color and value...' This has an important bearing on the color harmony so splendidly carried out here. Color is not localized but is picked up like a melody in various parts of the canvas--the blue of the sky in the blue of doors and shadows, the red of the roofs in field and foreground earth--so that all comes into happy relation.
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The Holy Night (Adoration of Shepherds) (detail) Nativity (Holy Night)
Unknown
The light appears simultaneously to bathe and to emerge from the Child, who is lying on a rough pallet, only to soften on the face of the Virgin, tenderly rapt in a maternal embrace. They are surrounded by the fluid gestures of the shepherds and of St Joseph, who is holding back the donkey, and by the kicking legs of the angels transported by the cloud that spreads hazily through the picture.The painting is not lacking in color and the chiaroscuro spreads over and softens every form. It is a picture that points the way toward the future Lombard investigation of luministic effects, and was used as a model by such painters as Procaccini, Reni, and Domenichino, and even later on, by Barocci and Maratta.
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The Holy Night (Adoration of Shepherds) (detail) Nativity (Holy Night)
Unknown
The light appears simultaneously to bathe and to emerge from the Child, who is lying on a rough pallet, only to soften on the face of the Virgin, tenderly rapt in a maternal embrace. They are surrounded by the fluid gestures of the shepherds and of St Joseph, who is holding back the donkey, and by the kicking legs of the angels transported by the cloud that spreads hazily through the picture.The painting is not lacking in color and the chiaroscuro spreads over and softens every form. It is a picture that points the way toward the future Lombard investigation of luministic effects, and was used as a model by such painters as Procaccini, Reni, and Domenichino, and even later on, by Barocci and Maratta.
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The Holy Night (Adoration of Shepherds) (detail) Nativity (Holy Night)
Unknown
The light appears simultaneously to bathe and to emerge from the Child, who is lying on a rough pallet, only to soften on the face of the Virgin, tenderly rapt in a maternal embrace. They are surrounded by the fluid gestures of the shepherds and of St Joseph, who is holding back the donkey, and by the kicking legs of the angels transported by the cloud that spreads hazily through the picture.The painting is not lacking in color and the chiaroscuro spreads over and softens every form. It is a picture that points the way toward the future Lombard investigation of luministic effects, and was used as a model by such painters as Procaccini, Reni, and Domenichino, and even later on, by Barocci and Maratta.
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The Horse Fair (detail)
Unknown
This picture shows the horse market held in Paris on the tree-lined boulevard de l'H
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The Horse Fair (detail)
Unknown
"The lively sketch of the composition is ruled by the waving masses of colour of brown, black and white horses, which are led into sight. They seem to be mixed up with red ribbons, red bridles, edgings and red stripes on the saddle-clothes. On top of this the clenched mass of white clouds as an echo on the bodies of the horses. Shown is the Horse Fair in Paris, in the background you can see the dome La Salpetriere. There are two versions of this world-famous painting, they are almost equal in their proportions, but different in their size." (C. Steckner, 1992)
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The Hunters in the Snow; Winter (detail) The Hunters in the Snow; January
Unknown
The winter idyll is completed by a busy swarm of small figures in the distant plain. The painting belongs to a series of painting representing the Months. The paintings were commissioned by a collector in Antwerp.
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The Hunters in the Snow; Winter (detail) The Hunters in the Snow; January
Unknown
What was then understood as an illustration of seasonal labour a pig being singed in front of an inn comes across only as a secondary scene at the left edge of the painting.
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The Hunters in the Snow; Winter (detail) The Hunters in the Snow; January
Unknown
The hunters are making their way back to the low-lying village with their meagre bounty, a pack of hounds at their heels. Their backs are turned towards us. That, along with the perspective of the row of trees, draws the observer down into the distance, on to the remote, icy mountains on the horizon, and at the same time out of the whole cycle. The hunters are making their way back to the low-lying village with their meagre bounty, a pack of hounds at their heels. Their backs are turned towards us. That, along with the perspective of the row of trees, draws the observer down into the distance, on to the remote, icy mountains on the horizon, and at the same time out of the whole cycle.
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The Hunters in the Snow; Winter (detail) The Hunters in the Snow; January
Unknown
The hunters are making their way back to the low-lying village with their meagre bounty, a pack of hounds at their heels. Their backs are turned towards us. That, along with the perspective of the row of trees, draws the observer down into the distance, on to the remote, icy mountains on the horizon, and at the same time out of the whole cycle. The hunters are making their way back to the low-lying village with their meagre bounty, a pack of hounds at their heels. Their backs are turned towards us. That, along with the perspective of the row of trees, draws the observer down into the distance, on to the remote, icy mountains on the horizon, and at the same time out of the whole cycle.
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The Hunters in the Snow; Winter (detail) The Hunters in the Snow; January
Unknown
The winter idyll is completed by a busy swarm of small figures in the distant plain. The painting belongs to a series of painting representing the Months. The paintings were commissioned by a collector in Antwerp.
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The Impressario (Pierre Ducarre) The Impresario
Unknown
Degas' father was a prominent banker. His father and grandfather signed their names *De Gas*, as did the artist until ca. 1870. . The Bellelli Family (Paris, Musee d'Orsay). In Paris in 1874, he helped organize the first impressionist exhibition and contributed to all but one of the subsequent group shows, although his many paintings of the ballet and opera, cafe scenes, horse races, and other aspects of metropolitan life are distinct in style and subject matter from the work of his impressionist colleagues. About 1892 Degas began to work primarily in pastels. Plagued by ill health and near blindness after about 1900, his style became increasingly broad, and by 1910 he had ceased working.
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The Lady of Auxerre
Unknown
The Lady of Auxerre was named after the little Museum of Auxerre, a small city in the vicinity of Paris, where, about a century ago, a Louvre curator sighted her in the vault of that museum. No documents or information of any sort were available concerning the circumstances of her arrival there. Typical, in this respect, is her wig (which could also be Egyptian) and triangular face, while her dress is of the ancient Cretan type. . The Daedalic type is characteristic rather of minor arts, almost the only type of art existing during this so-called orientalizing period of Greek art. In any case, the Auxerre lady is composed of parts which lack the unity and harmony which characterize and dominate Greek art after its emancipation.
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The Last Supper
Unknown
Jacopo Bassano's Last Supper is one of the masterpieces of 16th-century Italian painting. Instead of the elegant grouping of figures in Leonardo's painting, which inspired it, this dramatic scene features barefoot fishermen at the crucial moment when Christ asks who will betray him, and the light passing through a glass of wine stains the clean tablecloth red. Recent restoration has only now revealed the extraordinary original colours, which had been heavily painted over in the 19th century, when the emerald green and iridescent pinks and oranges were not in fashion.
