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 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 ( 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 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
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 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 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 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 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 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.
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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 Tempest (The Storm)
Unknown
This painting marks a moment of capital importance in the renovation of the Venetian style painting.The fascination of the painting arises from the pictorial realization of the illustrative elements. In the vibrant brightness which immediately precedes the breaking of the storm the chromatic values follow one another in fluid gradations achieved by the modulation of the tones in the fused dialectic of light and shadow in an airy perspective of atmospheric value within a definite space. Completely liberated from any subjection to drawing or perspective, colour is the dominant value in a new spacial-atmospheric synthesis which is fundamental to the art of painting in its modern sense.
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The Tempest (The Storm)(detail)
Unknown
This painting, the meaning of which has been greatly debated, marks a moment of capital importance in the renovation of the Venetian style painting, and perhaps is the most representative of the very few genuine surviving works of Giorgione.The vigour of cultural life at the beginning of the sixteenth century provided exactly the right fertile ground for the personality of Giorgione. With Giovanni Bellini and Vittore Carpaccio as examples in his early training and with his attentive interest in Northern European painting of Belgium he soon decided to attempt a naturalistic language. Colour attains to new all-important powers of expression of the poetic equivalence of man and nature in a single, fearful apprehension o,f the cosmos.
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The Terrasse Family
Unknown
Bonnard employs a grey, sombre palette and a friezelike composition of figures in two horizontal registers. Represented in the painting is Bonnard
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The Terrasse Family (detail)
Unknown
Bonnard employs a grey, sombre palette and a friezelike composition of figures in two horizontal registers. Represented in the painting is Bonnard
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The Terrasse Family (detail)
Unknown
Bonnard employs a grey, sombre palette and a friezelike composition of figures in two horizontal registers. Represented in the painting is Bonnard
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The Tetrastoon (four stoas), Imperial Hall beyond, and Theater Baths at right
Unknown
Telephoto view of the Imperial Hall from the N
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The Tetrastoon (four stoas), Imperial Hall beyond, and Theater Baths at right
Unknown
View over Tetrastoon to the Imperial Hall. view SE
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The Tetrastoon (four stoas), Imperial Hall beyond, and Theater Baths at right
Unknown
Southern end of Tetrastoon and transition to Imperial Hall, view E from Theater
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The Tetrastoon (four stoas), Imperial Hall beyond, and Theater Baths at right
Unknown
View of Imperial Hall and Theater Baths at right from SW
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The Tetrastoon (four stoas), Imperial Hall beyond, and Theater Baths at right
Unknown
General view SE from the Theater
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The Third of May: Execution of the Madrilenos The Third of May, 1808
Unknown
In 1814, when Ferdinand VII resumed the Spanish throne, Goya painted two pictures to commemorate Spanish resistance to French occupation. The first, entitled The Second of May, 1808, portrays the Spanish uprising against Napoleon's cavalry; the second, and more famous, Third of May, 1808 depicts the French reprisals. This painting condemns organized brutality in a way that stands alone in excellence. This scene of slaughter captures every detail of a group of gleeful hateful men destroying their fellow men. Nothing else in all of art equals the violence, the black terror of the moment, with those guns pointed at the group of unarmed victims. This is a difficult painting to look at for extended periods of time and may even cause nightmares.
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The Third of May: Execution of the Madrilenos The Third of May, 1808
Unknown
In 1814, when Ferdinand VII resumed the Spanish throne, Goya painted two pictures to commemorate Spanish resistance to French occupation. The first, entitled The Second of May, 1808, portrays the Spanish uprising against Napoleon's cavalry; the second, and more famous, Third of May, 1808 depicts the French reprisals. This painting condemns organized brutality in a way that stands alone in excellence. This scene of slaughter captures every detail of a group of gleeful hateful men destroying their fellow men. Nothing else in all of art equals the violence, the black terror of the moment, with those guns pointed at the group of unarmed victims. This is a difficult painting to look at for extended periods of time and may even cause nightmares.
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The Third of May: Execution of the Madrilenos The Third of May, 1808
Unknown
In 1814, when Ferdinand VII resumed the Spanish throne, Goya painted two pictures to commemorate Spanish resistance to French occupation. The first, entitled The Second of May, 1808, portrays the Spanish uprising against Napoleon's cavalry; the second, and more famous, Third of May, 1808 depicts the French reprisals. This painting condemns organized brutality in a way that stands alone in excellence. This scene of slaughter captures every detail of a group of gleeful hateful men destroying their fellow men. Nothing else in all of art equals the violence, the black terror of the moment, with those guns pointed at the group of unarmed victims. This is a difficult painting to look at for extended periods of time and may even cause nightmares.
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The Third of May: Execution of the Madrilenos The Third of May, 1808
Unknown
In 1814, when Ferdinand VII resumed the Spanish throne, Goya painted two pictures to commemorate Spanish resistance to French occupation. The first, entitled The Second of May, 1808, portrays the Spanish uprising against Napoleon's cavalry; the second, and more famous, Third of May, 1808 depicts the French reprisals. This painting condemns organized brutality in a way that stands alone in excellence. This scene of slaughter captures every detail of a group of gleeful hateful men destroying their fellow men. Nothing else in all of art equals the violence, the black terror of the moment, with those guns pointed at the group of unarmed victims. This is a difficult painting to look at for extended periods of time and may even cause nightmares.
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The Three Philosophers
Unknown
The reason for this enigma for this painting is that the theme was made to order for an exclusive patron and known only to him, and the painter. The, landscape attains the same importance as the human figure. Also unprecedented was the way his painting methods concentrated on colour effect. Giorgione created an illusion of airiness and atmosphere in his landscapes by using warm, delicately shaded colours over relatively large areas and by letting one hue flow into another similar one. Instead of the geometrically constructed central perspective, he employed the visual experience of an aerial perspective and its sfumato (smoky effect of light and shade), suggesting the spatial depths by colours and contours that melt into the distance.
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The Transfiguration (detail)
Unknown
This is the second and final version of the subject by Bellini. The first version was executed in c. 1455.
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The Transfiguration (detail)
Unknown
This is the second and final version of the subject by Bellini. The first version was executed in c. 1455.
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The Triumph of Divine Providence
Unknown
In 1625 the Barberini family purchased the Palazzo Sforza and other properties in the area which was to be incorporated to the Barberini palace we see today in Rome. Upon the death of Carlo Maderno, the first architect of the project, Gian Lorenzo Bernini succeeded as chief architect in 1629. Bernini's is the conception of the high central "salone', which extends through two stories of the palace. The salone culminates in the great vault on which Piero da Cortona frescoed his Divine Providence, a pictorial celebration of the spiritual and temporal glories of the Barberini.
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The Triumph of Divine Providence (detail)
Unknown
In 1625 the Barberini family purchased the Palazzo Sforza and other properties in the area which was to be incorporated to the Barberini palace we see today in Rome. Upon the death of Carlo Maderno, the first architect of the project, Gian Lorenzo Bernini succeeded as chief architect in 1629. Bernini's is the conception of the high central "salone', which extends through two stories of the palace. The salone culminates in the great vault on which Piero da Cortona frescoed his Divine Providence, a pictorial celebration of the spiritual and temporal glories of the Barberini.
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The Triumph of Divine Providence (detail)
Unknown
In 1625 the Barberini family purchased the Palazzo Sforza and other properties in the area which was to be incorporated to the Barberini palace we see today in Rome. Upon the death of Carlo Maderno, the first architect of the project, Gian Lorenzo Bernini succeeded as chief architect in 1629. Bernini's is the conception of the high central "salone', which extends through two stories of the palace. The salone culminates in the great vault on which Piero da Cortona frescoed his Divine Providence, a pictorial celebration of the spiritual and temporal glories of the Barberini.
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The Triumph of Divine Providence (detail)
Unknown
The orderly clarity of Annibale Carracci's frescos in Palazzo Farnese was replaced by a turbulent composition that was full of spiraling movement. Everything combines to underline the vibrant dynamism of the work. The large scudding clouds and the perspective viewpoints looking up from below were probably inspired by Correggio's examples. But the brand new ingredient was Pietro da Cortona's desire to turn the fresco into a total work of art. The spectator was intended to lose his perception of space when he looked at it and become caught up in a spiritual and esthetic ecstasy. In this scene the triumphs of the Barberini dynasty are nearly as apparent as those of Divine Providence.
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The Triumph of Divine Providence (detail)
Unknown
The orderly clarity of Annibale Carracci's frescos in Palazzo Farnese was replaced by a turbulent composition that was full of spiraling movement. Everything combines to underline the vibrant dynamism of the work. The large scudding clouds and the perspective viewpoints looking up from below were probably inspired by Correggio's examples. But the brand new ingredient was Pietro da Cortona's desire to turn the fresco into a total work of art. The spectator was intended to lose his perception of space when he looked at it and become caught up in a spiritual and esthetic ecstasy. In this scene the triumphs of the Barberini dynasty are nearly as apparent as those of Divine Providence.
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The Triumph of Divine Providence (detail)
Unknown
Everything combines to underline the vibrant dynamism of the work. The large scudding clouds and the perspective viewpoints looking up from below were probably inspired by Correggio's examples. But the brand new ingredient was Pietro da Cortona's desire to turn the fresco into a total work of art. The spectator was intended to lose his perception of space when he looked at it and become caught up in a spiritual and esthetic ecstasy. Another hallmark of Baroque was the happy way it mixed different subjects. In this scene, officially on a religious theme, the triumphs of the Barberini dynasty are nearly as apparent as those of Divine Providence as can be seen from the way their heraldic device of flying bees dominates the scene
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The Triumph of Divine Providence (detail)
Unknown
Everything combines to underline the vibrant dynamism of the work. The large scudding clouds and the perspective viewpoints looking up from below were probably inspired by Correggio's examples. But the brand new ingredient was Pietro da Cortona's desire to turn the fresco into a total work of art. The spectator was intended to lose his perception of space when he looked at it and become caught up in a spiritual and esthetic ecstasy. Another hallmark of Baroque was the happy way it mixed different subjects. In this scene, officially on a religious theme, the triumphs of the Barberini dynasty are nearly as apparent as those of Divine Providence as can be seen from the way their heraldic device of flying bees dominates the scene.
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The Triumph of Divine Providence (detail)
Unknown
In 1625 the Barberini family purchased the Palazzo Sforza and other properties in the area which was to be incorporated to the Barberini palace we see today in Rome. Upon the death of Carlo Maderno, the first architect of the project, Gian Lorenzo Bernini succeeded as chief architect in 1629. Bernini's is the conception of the high central "salone', which extends through two stories of the palace. The salone culminates in the great vault on which Piero da Cortona frescoed his Divine Providence, a pictorial celebration of the spiritual and temporal glories of the Barberini.
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The Triumph of Divine Providence (detail)
Unknown
In 1625 the Barberini family purchased the Palazzo Sforza and other properties in the area which was to be incorporated to the Barberini palace we see today in Rome. Upon the death of Carlo Maderno, the first architect of the project, Gian Lorenzo Bernini succeeded as chief architect in 1629. Bernini's is the conception of the high central "salone', which extends through two stories of the palace. The salone culminates in the great vault on which Piero da Cortona frescoed his Divine Providence, a pictorial celebration of the spiritual and temporal glories of the Barberini.
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The Triumph of Divine Providence (detail)
Unknown
In 1625 the Barberini family purchased the Palazzo Sforza and other properties in the area which was to be incorporated to the Barberini palace we see today in Rome. Upon the death of Carlo Maderno, the first architect of the project, Gian Lorenzo Bernini succeeded as chief architect in 1629. Bernini's is the conception of the high central "salone', which extends through two stories of the palace. The salone culminates in the great vault on which Piero da Cortona frescoed his Divine Providence, a pictorial celebration of the spiritual and temporal glories of the Barberini.
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The Triumph of Divine Providence (detail)
Unknown
Everything combines to underline the vibrant dynamism of the work. The large scudding clouds and the perspective viewpoints looking up from below were probably inspired by Correggio's examples. But the brand new ingredient was Pietro da Cortona's desire to turn the fresco into a total work of art. The spectator was intended to lose his perception of space when he looked at it and become caught up in a spiritual and esthetic ecstasy. Another hallmark of Baroque was the happy way it mixed different subjects. In this scene, officially on a religious theme, the triumphs of the Barberini dynasty are nearly as apparent as those of Divine Providence as can be seen from the way their heraldic device of flying bees dominates the scene
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The Triumph of Divine Providence (detail)
Unknown
In 1625 the Barberini family purchased the Palazzo Sforza and other properties in the area which was to be incorporated to the Barberini palace we see today in Rome. Upon the death of Carlo Maderno, the first architect of the project, Gian Lorenzo Bernini succeeded as chief architect in 1629. Bernini's is the conception of the high central "salone', which extends through two stories of the palace. The salone culminates in the great vault on which Piero da Cortona frescoed his Divine Providence, a pictorial celebration of the spiritual and temporal glories of the Barberini.
-
The Triumph of Divine Providence (detail)
Unknown
The orderly clarity of Annibale Carracci's frescos in Palazzo Farnese was replaced by a turbulent composition that was full of spiraling movement. Everything combines to underline the vibrant dynamism of the work. The large scudding clouds and the perspective viewpoints looking up from below were probably inspired by Correggio's examples. But the brand new ingredient was Pietro da Cortona's desire to turn the fresco into a total work of art. The spectator was intended to lose his perception of space when he looked at it and become caught up in a spiritual and esthetic ecstasy. In this scene the triumphs of the Barberini dynasty are nearly as apparent as those of Divine Providence.
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The Triumph of Divine Providence (detail)
Unknown
In 1625 the Barberini family purchased the Palazzo Sforza and other properties in the area which was to be incorporated to the Barberini palace we see today in Rome. Upon the death of Carlo Maderno, the first architect of the project, Gian Lorenzo Bernini succeeded as chief architect in 1629. Bernini's is the conception of the high central "salone', which extends through two stories of the palace. The salone culminates in the great vault on which Piero da Cortona frescoed his Divine Providence, a pictorial celebration of the spiritual and temporal glories of the Barberini.
