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 Painter's Studio: A Real-Life-Allegory of the Last Seven Years of My Life 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 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 Parthenon
Unknown
Total seen along processional way from Propylaea (late afternoon light) (1999)
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The Parthenon
Unknown
Detail of northwest corner and raking view of N colonnade (late afternoon light) (1999)
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The Parthenon
Unknown
Detail of northwest corner seen from northwest: entablature, capitals, tops of columns (1984)
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The Parthenon
Unknown
Detail of E front seen from E, with view to interior construction beyond (1984)
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The Parthenon
Unknown
Detail of W front: pediment with sculpture, entablature, upper portion of column (1984)
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The Peasant Family (detail) Family of Country People
Unknown
It is still not known precisely which of the three Le Nain brothers (most probably Louis or Antoine) was the author of a series of paintings with peasant subjects. The series is prominent among Western art of the genre, for its exceptional quality and solemnity, its muted colors and the austere dignity of the figures, fixed in their attentive, stilled poses. This scene, the largest of the series, has the universality of a classical text. Wine and bread are given a emphasis that is redolent with symbolism. The Louvre has two paintings depicting peasant families by Le Nain, one of them is an austere and virile work. This one, however, strikes a note of profound intimacy, a warmth of spirit, like the atmosphere of a domestic festivity.
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The Peasant Family Family of Country People
Unknown
The general harmony of greys and browns is in keeping with the spirit of austerity reigning in French painting in the time of Louis XIII. Unlike the Flemings, who made their scenes of rustic life an occasion for depicting the unleashing of the coarsest sensual instincts, Louis Le Nain saw in the peasant soul a profound gravity, even solemnity; the expression of a life of toil whose hard realities have bestowed on it a sense of its own dignity. The paint quality is flowing and rich, with touches of impasto used not simply for effect, as in the work of Frans Hals, but giving proof of a sensitive brush, searching out the modelling with attention and feeling.
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The Peruzzi Altarpiece
Unknown
By endowing his figures with realistic mass and expressive gestures and features, Giotto helped to establish the more natural style that ushered in the Italian Renaissance. The inclusion of St. John the Evangelist, St. John the Baptist, and St. Francis of Assisi has led to the hypothesis that the altarpiece was painted for the Peruzzi family chapel, which was dedicated to St. John the Baptist and St. John the Evangelist, in the Franciscan church of Santa Croce in Florence. In the middle of the fifteenth century, the sculptor Lorenzo Ghiberti recorded four paintings and four chapels painted by Giotto in this church, but it cannot be determined whether the Museum's altarpiece was one of the paintings to which he referred.
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The Peruzzi Altarpiece (deatial)
Unknown
By endowing his figures with realistic mass and expressive gestures and features, Giotto helped to establish the more natural style that ushered in the Italian Renaissance. The inclusion of St. John the Evangelist, St. John the Baptist, and St. Francis of Assisi has led to the hypothesis that the altarpiece was painted for the Peruzzi family chapel, which was dedicated to St. John the Baptist and St. John the Evangelist, in the Franciscan church of Santa Croce in Florence. In the middle of the fifteenth century, the sculptor Lorenzo Ghiberti recorded four paintings and four chapels painted by Giotto in this church, but it cannot be determined whether the Museum's altarpiece was one of the paintings to which he referred.
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The Peruzzi Altarpiece (detail)
Unknown
By endowing his figures with realistic mass and expressive gestures and features, Giotto helped to establish the more natural style that ushered in the Italian Renaissance. The inclusion of St. John the Evangelist, St. John the Baptist, and St. Francis of Assisi has led to the hypothesis that the altarpiece was painted for the Peruzzi family chapel, which was dedicated to St. John the Baptist and St. John the Evangelist, in the Franciscan church of Santa Croce in Florence. In the middle of the fifteenth century, the sculptor Lorenzo Ghiberti recorded four paintings and four chapels painted by Giotto in this church, but it cannot be determined whether the Museum's altarpiece was one of the paintings to which he referred.
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The Peruzzi Altarpiece (detail)
Unknown
By endowing his figures with realistic mass and expressive gestures and features, Giotto helped to establish the more natural style that ushered in the Italian Renaissance. The inclusion of St. John the Evangelist, St. John the Baptist, and St. Francis of Assisi has led to the hypothesis that the altarpiece was painted for the Peruzzi family chapel, which was dedicated to St. John the Baptist and St. John the Evangelist, in the Franciscan church of Santa Croce in Florence. In the middle of the fifteenth century, the sculptor Lorenzo Ghiberti recorded four paintings and four chapels painted by Giotto in this church, but it cannot be determined whether the Museum's altarpiece was one of the paintings to which he referred.
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The Peruzzi Altarpiece (detail)
Unknown
By endowing his figures with realistic mass and expressive gestures and features, Giotto helped to establish the more natural style that ushered in the Italian Renaissance. The inclusion of St. John the Evangelist, St. John the Baptist, and St. Francis of Assisi has led to the hypothesis that the altarpiece was painted for the Peruzzi family chapel, which was dedicated to St. John the Baptist and St. John the Evangelist, in the Franciscan church of Santa Croce in Florence. In the middle of the fifteenth century, the sculptor Lorenzo Ghiberti recorded four paintings and four chapels painted by Giotto in this church, but it cannot be determined whether the Museum's altarpiece was one of the paintings to which he referred.
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The Peruzzi Altarpiece (detail)
Unknown
By endowing his figures with realistic mass and expressive gestures and features, Giotto helped to establish the more natural style that ushered in the Italian Renaissance. The inclusion of St. John the Evangelist, St. John the Baptist, and St. Francis of Assisi has led to the hypothesis that the altarpiece was painted for the Peruzzi family chapel, which was dedicated to St. John the Baptist and St. John the Evangelist, in the Franciscan church of Santa Croce in Florence. In the middle of the fifteenth century, the sculptor Lorenzo Ghiberti recorded four paintings and four chapels painted by Giotto in this church, but it cannot be determined whether the Museum's altarpiece was one of the paintings to which he referred.
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The Pieta (detail) Dead Christ Supported by the Madonna and St John (Piet
Unknown
The figures stand out against a leaden dreamlike sky. The painting retains a strong Paduan element that is evident in the contours, adjusting gestures and figures to the strong expressive requirements of the drama. The silent exchange of emotions in the faces is reflected in the masterly play of the hands. The landscape behind them, empty and metallic in the cold, shining greys of the painful dawn of rebirth, accentuates the sense of the scene's anguish. Both the Donatello of the altar of St Anthony of Padua and, once again, Mantegna and the Flemish masters are the influences which spurred Bellini along the path of a sad and bitter pathos.
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The Pieta (detail) Dead Christ Supported by the Madonna and St John (Piet
Unknown
A passionate feeling that is not so much religious as human and psychological pervades the actors in the drama. The rendering of grief has here its most universal expression and, at the same time, its most private and conscious dimension. The mother's pathetic gesture is reflected in St John's turning away. The construction of the work shows careful thought. The figures, borrowed from popular imagery, are grouped in the foreground against an infinite horizon. The pentagonal arm of Christ ending in a closed fist is that of a fallen but un vanquished athlete.
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The Portinari Altar - Central panel
Unknown
Tommaso Portinari, who loved Flemish art, commissioned Hugo van der Goes to paint the Portinari alterpiece. This great triptych, painted in Bruges in around 1475, originally stood on the high altar of the church of Sant
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The Portinari Altar (Central panel)
Unknown
Tommaso Portinari, who loved Flemish art, commissioned Hugo van der Goes to paint the Portinari alterpiece. This great triptych, painted in Bruges in around 1475, originally stood on the high altar of the church of Sant
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The Portinari Altar (Central panel)
Unknown
Tommaso Portinari, who loved Flemish art, commissioned Hugo van der Goes to paint the Portinari altarpiece. This great triptych, painted in Bruges in around 1475, originally stood on the high altar of the church of Sant
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The Portinari Altar (Central panel)
Unknown
Tommaso Portinari, who loved Flemish art, commissioned Hugo van der Goes to paint the Portinari alterpiece. This great triptych, painted in Bruges in around 1475, originally stood on the high altar of the church of Sant
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The Portinari Altar ( Left panel)
Unknown
The Portinari Altar (1476-78) is his only authenticated surviving work, around which others can nevertheless be grouped with some certainty: Monforte Altar, The Fall of Adam, one of his earliest surviving works, and several others. Hugo van der Goes occupies a unique position in painting history because of his insight into character and class and through his intensely observant, almost surreal, rendering of nature and space. Hugo
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The Portinari Altar (Left panel)
Unknown
Tommaso Portinari, who loved Flemish art, commissioned Hugo van der Goes to paint the Portinari altarpiece. This great triptych, painted in Bruges in around 1475, originally stood on the high altar of the church of Sant
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The Portinari Altar (Left panel)
Unknown
Tommaso Portinari, who loved Flemish art, commissioned Hugo van der Goes to paint the Portinari alterpiece. This great triptych, painted in Bruges in around 1475, originally stood on the high altar of the church of Sant
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The Portinari Altar (Right panel)
Unknown
Tommaso Portinari, who loved Flemish art, commissioned Hugo van der Goes to paint the Portinari altarpiece. This great triptych, painted in Bruges in around 1475, originally stood on the high altar of the church of Sant
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The Portinari Altar (Right panel)
Unknown
Tommaso Portinari, who loved Flemish art, commissioned Hugo van der Goes to paint the Portinari altarpiece. This great triptych, painted in Bruges in around 1475, originally stood on the high altar of the church of Sant
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The Portinari Altar (Right panel)
Unknown
Tommaso Portinari, who loved Flemish art, commissioned Hugo van der Goes to paint the Portinari alterpiece. This great triptych, painted in Bruges in around 1475, originally stood on the high altar of the church of Sant
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The Raft of the Medusa (detail)
Unknown
The fourth group consists of three men who mount some barrels at the Raft's forward end and signal to the Argus. It is the most important of the four groups, that gives a culmination to the dramatic narrative and compositional structure of the Medusa. Yet it is the last that he invented. The Nero's powerful torso stands out against the sky high above the horizon, the cloth unfurling in the wind from his uplifted arm and gives the scene a splendid climax.
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The Road Menders at Saint-R Large Plane Trees
Unknown
Painted during Vincent van Gogh's voluntary stay at the mental hospital at Saint-R
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The Sacrifice of Isaac Stopped by the Angel Abraham Sacrificing Isaac
Unknown
Abraham and Isaac have passionate expressions. Isaac appears to be reacting in fear to his father, whereas Abraham is caught at the exact moment that he knows his son will not be killed. He appears to be between a state of agony (at the idea of having to kill his own son) and a state of thankfulness (at God's willingness to allow his son to live). This is the first and only piece of art in this series to mention the stopping of the sacrifice in its title.
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The Sacrifice of Isaac Stopped by the Angel Abraham Sacrificing Isaac
Unknown
Abraham and Isaac have passionate expressions. Isaac appears to be reacting in fear to his father, whereas Abraham is caught at the exact moment that he knows his son will not be killed. He appears to be between a state of agony (at the idea of having to kill his own son) and a state of thankfulness (at God's willingness to allow his son to live). This is the first and only piece of art in this series to mention the stopping of the sacrifice in its title.
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The Schuffenecker Family (detail)
Unknown
Claude Emile Schuffenecker (1851-1934) was a colleague of Gauguin
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The Source
Unknown
Courbet's "The Source," painted in a naturalistic style and devoid of the trappings of academic allegory, may have been a response to Ingres's "La Source" (1856, Mus
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The Source (detail)
Unknown
Courbet's "The Source," painted in a naturalistic style and devoid of the trappings of academic allegory, may have been a response to Ingres's "La Source" (1856, Mus
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The St. Lucy Altarpiece
Unknown
The work, signed and dating around 1445, comes from the Florentine church of Santa Lucia dei Magnoli and shows the Madonna enthroned with Child among the saints (left to right) Francis, John the Baptist (whose face is the self-portrait of the painter), Zenobius and Lucy. This sacra conversazione is placed in a completely Renaissance architectural setting, where the perspective study get perfection with the foreshortening of the floor. The natural light and the absence of gold on the backgrond of the picture, make this altarpiece one of the first achievements of the new Renaissance art.
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The St. Lucy Altarpiece (detail)
Unknown
The work, signed and dating around 1445, comes from the Florentine church of Santa Lucia dei Magnoli and shows the Madonna enthroned with Child among the saints (left to right) Francis, John the Baptist (whose face is the self-portrait of the painter), Zenobius and Lucy. This sacra conversazione is placed in a completely Renaissance architectural setting, where the perspective study get perfection with the foreshortening of the floor. The natural light and the absence of gold on the backgrond of the picture, make this altarpiece one of the first achievements of the new Renaissance art.
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The St. Lucy Altarpiece (detail)
Unknown
The work, signed and dating around 1445, comes from the Florentine church of Santa Lucia dei Magnoli and shows the Madonna enthroned with Child among the saints (left to right) Francis, John the Baptist (whose face is the self-portrait of the painter), Zenobius and Lucy. This sacra conversazione is placed in a completely Renaissance architectural setting, where the perspective study get perfection with the foreshortening of the floor. The natural light and the absence of gold on the background of the picture, make this altarpiece one of the first achievements of the new Renaissance art.
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The St. Lucy Altarpiece (detail) Santa Lucia dei Magnoli's Altarpiece
Unknown
The work, signed and dating around 1445, comes from the Florentine church of Santa Lucia dei Magnoli and shows the Madonna enthroned with Child among the saints (left to right) Francis, John the Baptist (whose face is the self-portrait of the painter), Zenobius and Lucy. This sacra conversazione is placed in a completely Renaissance architectural setting, where the perspective study get perfection with the foreshortening of the floor. The natural light and the absence of gold on the backgrond of the picture, make this altarpiece one of the first achievements of the new Renaissance art.
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The St. Lucy Altarpiece (detail) Santa Lucia dei Magnoli's Altarpiece
Unknown
The work, signed and dating around 1445, comes from the Florentine church of Santa Lucia dei Magnoli and shows the Madonna enthroned with Child among the saints (left to right) Francis, John the Baptist (whose face is the self-portrait of the painter), Zenobius and Lucy. This sacra conversazione is placed in a completely Renaissance architectural setting, where the perspective study get perfection with the foreshortening of the floor. The natural light and the absence of gold on the backgrond of the picture, make this altarpiece one of the first achievements of the new Renaissance art.
