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 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, substance-less 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 the second short side, with a chariot being drawn by wild goats
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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
Closer view of a robed woman carrying vessels and a man playing a lyre
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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
Overall view of the second long side, with figures holding offerings and instruments
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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 luminist 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 luminist 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
"The lively sketch of the composition is ruled by the waving masses of color 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 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 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
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
What was then understood as an illustration of seasonal labor 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 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 colors, which had been heavily painted over in the 19th century, when the emerald green and iridescent pinks and oranges were not in fashion.
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The Last Supper (detail)
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 colors, which had been heavily painted over in the 19th century, when the emerald green and iridescent pinks and oranges were not in fashion.
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The Last Supper (detail)
Unknown
Jacopo Bassano's Last Supper, painted in 1542, is one of the masterpieces of 16th century Italian painting. Instead of the elegant grouping of figures in Leonardos' 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 tablecoth red. Recent restoration has only now revealed the extraordinary original colors, which had been heavily painted over in the 19th century, when the emerald green and iridescent pinks and oranges were not in fashion.
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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 Little Children Being Brought to Jesus ("The 100 Guilder Print") Christ with the Sick around Him, Receiving the Children
Unknown
In addition to Rembrandt's artistic achievements in painting, his development as a printmaker firmly places him within the realm of history's greatest artists. He addressed many different subjects in his etchings and drypoints, including religious ones. This interest is evident in possibly the most successful print of his career, Christ with the Sick around Him, Receiving the Children or the Hundred Guilder Print. As a printmaker, Rembrandt's unchallenged abilities are well accepted and were widely known during his lifetime. For example, Christ with the Sick... gained the subtitle the Hundred Guilder Print in 1649 because the etching was purchased by a Roman print dealer for that price, the equivalent of 150 gold pieces.
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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
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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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
Table, still life w wineglass, teapot
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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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The Megaron of the Palace at top of the Citadel
Unknown
N edge of Citadel and surrounding countryside
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The Mint (La Zecca) and the State Library (Palazzo San Marco at right)
Unknown
Overall view of façades from canal
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The Mint (La Zecca) and the State Library (Palazzo San Marco at right)
Unknown
State Library Façade detail
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The Molo Waterfront Development
Unknown
View fr. Ponte della Paglia of Piazzetta and Santa Maria delle Salute
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The Orchestra at the Opera The Orchestra at the Opera House
Unknown
Both Edgar Degas and Henri Toulouse-Lautrec used the same bassoonist, D
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The Origin of the World
Unknown
One of the most notoriously graphic portraits of all time, is Courbet's The Origin of the World, a full-frontal legs-spread record of a woman's torso from her breasts to her thighs. Courbet, who had a brilliantly and bluntly Realist style, was possibly the only artist alive who would, or could, have painted this unblinking portrait.
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The Painter
Unknown
Daumier's paintings were probably done for the most part fairly late in his career. Although he was accepted four times by the Salon, he never exhibited his paintings otherwise and they remained practically unknown up to the time of an exhibition held at Durand-Ruel's gallery in 1878, the year of his death. The paintings are in the main a documentation of contemporary life and manners with satirical overtones, although he also did a number featuring Don Quixote as a larger-than-life hero. His technique was remarkably broad and free.
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The Painter (detail)
Unknown
Daumier's paintings were probably done for the most part fairly late in his career. Although he was accepted four times by the Salon, he never exhibited his paintings otherwise and they remained practically unknown up to the time of an exhibition held at Durand-Ruel's gallery in 1878, the year of his death. The paintings are in the main a documentation of contemporary life and manners with satirical overtones, although he also did a number featuring Don Quixote as a larger-than-life hero. His technique was remarkably broad and free.
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The Painter Frederic Bazille (1841-70) At His Easel
Unknown
Artist, canvas, pallet, brushes, brushwork
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The Painter's Studio: A Real-Life-Allegory of the Last Seven Years of My Life (detail) The Painter's Studio : A Real Allegory Summarizing My Seven years of Life as an Artist
Unknown
Courbet believed in painting real people at their everyday activities. Here, the subject is his own studio, showing off the new role of the artist in society. On the left are the ordinary models, on the right friends (writers George Sand and Charles Baudelaire are identifiable). Courbet, the artist, takes center stage in sharp daylight. Vel
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The Painter's Studio: A Real-Life-Allegory of the Last Seven Years of My Life (detail) The Painter's Studio : A Real Allegory Summarizing My Seven years of Life as an Artist
Unknown
Courbet believed in painting real people at their everyday activities. Here, the subject is his own studio, showing off the new role of the artist in society. On the left are the ordinary models, on the right friends (writers George Sand and Charles Baudelaire are identifiable). Courbet, the artist, takes centre stage in sharp daylight. Vel
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The Painter's Studio: A Real-Life-Allegory of the Last Seven Years of My Life (detail) The Painter's Studio : A Real Allegory Summarizing My Seven years of Life as an Artist
Unknown
Courbet believed in painting real people at their everyday activities. Here, the subject is his own studio, showing off the new role of the artist in society. On the left are the ordinary models, on the right friends (writers George Sand and Charles Baudelaire are identifiable). Courbet, the artist, takes centre stage in sharp daylight. Vel
