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 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 colours, 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 colours, 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
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Flowers, foliage, fruit
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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
Table, still life w wineglass, teapot
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The Lunch (in Monet's Garden at Argenteuil). 2nd Impressionist Exhibition
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Close det: wineglass, silver teapot, brushwork
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The Lunch (in Monet's Garden at Argenteuil). 2nd Impressionist Exhibition
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Artist's son playing, tablecloth, brushwork
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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 sourrounding countryside
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The Mint (La Zecca) and the State Library (Palazzo San Marco at right)
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Overall view of fatades from canal
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The Mint (La Zecca) and the State Library (Palazzo San Marco at right)
Unknown
State Library Fatade detail
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The Molo Waterfront Development
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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 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
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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 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
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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 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
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Detail of E front seen from E, with view to interior construction beyond (1984)
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The Parthenon
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Total seen along processional way from Propylaea (late afternoon light) (1999)
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The Parthenon
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Detail of NW corner seen from NW: entablature, capitals, tops of columns (1984)
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The Parthenon
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Detail of W front: pediment with sculpture, entablature, upper portion of column (1984)
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The Parthenon
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Detail of NW corner and raking view of N colonnade (late afternoon light) (1999)
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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 colours 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 (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 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 Plain near Auvers
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In Auvers, Van Gogh chose to paint a large number of landscapes on canvases . A letter to Theo describes the sadness and loneliness he wished these paintings to express, but also his desire to show how 'healthy and heartening' he found the countryside.
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The Portinari Altar - Central panel
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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
