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 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.
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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, color 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. Color 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, somber 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
View of Imperial Hall and Theater Baths at right from southwest
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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 southeast
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The Tetrastoon (four stoas), Imperial Hall beyond, and Theater Baths at right
Unknown
General view southeast from the Theater
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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
Telephoto view of the Imperial Hall from the N
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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 Madrileños 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 Madrileños 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 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 Treasuries of Olympia
Libon of Elis Architect, Paeonium (Designer), and Alcamanes (Designer)
Southwest view from terrace of the Treasuries toward Temple of Zeus
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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 "salon', which extends through two stories of the palace. The salon 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
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.
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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 "salon', which extends through two stories of the palace. The salon 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
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
-
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
-
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
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 Troubador
Unknown
This painting depicts a troubadour, a singing poet associated with medieval French royal courts. From 1800 to 1850, there was a renewed interest in the medieval world, including the "Gothic Troubadour" style, based loosely upon French art and architecture from the Middle Ages. The painting also relates to the revived popularity of the great French Rococo painter Jean-Antoine Watteau (1684-1721). Here Daumier, like Watteau, explored the lost golden age of chivalry and courtly love. The subdued, almost faded colors and the troubadour's mandolin reinforce this poetic, melancholic mood.
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The Virgin and Child in a Church (a portable altar)
Unknown
Since 1425 Eyck served at the court of Philip the Good of Burgundy, where he was greatly valued not only as an artist, but he also was entrusted by Duke with various diplomatic missions. Since 1430 van Eyck lived and worked in Bruges as painter to the court and city. It was believed, that Jan van Eyck invented painting with oils, maybe it is not true, but his technique in painting with oils is exceptional. His paint is so transparent that his works have a unique, almost luminous sheen.
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The Virgin and Child in a Church (a portable altar)
Unknown
The symbolism of the colors used in the painting serve to heighten its spiritual message.
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The Virgin and Child in a Church (central section of a portable altar)
Unknown
Van Eyck's inspired observations of light and its effects, executed with technical virtuosity through this new, transparent medium, enabled him to create a brilliant and lucid kind of reality. The invention of this technique transformed the appearance of painting. Since 1430 van Eyck lived and worked in Bruges as painter to the court and city. It was believed, that Jan van Eyck invented painting with oils, maybe it is not true, but his technique in painting with oils is exceptional. His paint is so transparent that his works have a unique, almost luminous sheen.
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The Washerwoman
Unknown
That simplicity in which he has painted so many other images and things; as the heavy figure of a washerwoman, the faces of the third-class passengers or the grey profiles of the emigrants. The same perfect painting technique (prodigiously expert sign and fluid consistence of the chromatic material) contribute in expressing the genuine liking and the human friendliness that the Artist feels for his creatures. He represents the poor life of those restless years with political disturbances, with corruption, with social inequities; expressing affectionate and disconsolate pity suggested by his direct participation this world's sorrows.
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The West Pediment, Temple of Aphaia at Aegina, with Figures of Athena and Warriors
Unknown
Fallen warrior VII at extreme right, view from front
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The West Pediment, Temple of Aphaia at Aegina, with Figures of Athena and Warriors
Unknown
Central 3 figures: Warrior IX (Aias, son of Telamon) Athena, warrior II
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The West Pediment, Temple of Aphaia at Aegina, with Figures of Athena and Warriors
Unknown
Athena, from slightly right
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The West Pediment, Temple of Aphaia at Aegina, with Figures of Athena and Warriors
Unknown
Fallen warrior VII at extreme right, close det from front
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The West Pediment, Temple of Aphaia at Aegina, with Figures of Athena and Warriors
Unknown
Central crowning of West Pediment: palmette tree and two women
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The West Pediment, Temple of Aphaia at Aegina, with Figures of Athena and Warriors
Unknown
Raking view from left of Athena, two warriors on either side
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The West Pediment, Temple of Aphaia at Aegina, with Figures of Athena and Warriors
Unknown
Warriors III, IV, V from front
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The West Pediment, Temple of Aphaia at Aegina, with Figures of Athena and Warriors
Unknown
Full length front center
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The West Pediment, Temple of Aphaia at Aegina, with Figures of Athena and Warriors
Unknown
Warriors XIII, XII & XI to left, incl.Paris (XI) as archer
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The West Pediment, Temple of Aphaia at Aegina, with Figures of Athena and Warriors
Unknown
Fallen warrior VII at extreme right, view from behind
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The West Pediment, Temple of Aphaia at Aegina, with Figures of Athena and Warriors
Unknown
Raking view from behind of Asias and Paris, son of Priamos (archer XI)
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The West Pediment, Temple of Aphaia at Aegina, with Figures of Athena and Warriors
Unknown
Warriors XII, XIII & XIV to the left, seen from behind
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The West Pediment, Temple of Aphaia at Aegina, with Figures of Athena and Warriors
Unknown
Detail of left arm and shield of warrior III
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The White Horse
Unknown
Gauguin does not primarily suggest a local connectionto Tahiti but rather a final outcome of the sense of newly tapped powers in color and new sensations to be derived from it that had been the preoccupation of a whole half-century. The seed of Impressionism, it might be said, expanded here into a marvellous exotic bloom. The color, however, is no longer descriptive or atmospheric but makes an impact on the senses akin to that of music. The white horse itself suggests some creature of heroic fable, yet while it shares this appearance of belonging to an imaginary world with the riders in the background, the picture had its basis in Polynesian reality. The inhabitants used horses as a means of transport in the absence of roads and bridges.
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The White Horse (detail)
Unknown
Gauguin does not primarily suggest a local connectionto Tahiti but rather a final outcome of the sense of newly tapped powers in color and new sensations to be derived from it that had been the preoccupation of a whole half-century. The seed of Impressionism, it might be said, expanded here into a marvellous exotic bloom. The color, however, is no longer descriptive or atmospheric but makes an impact on the senses akin to that of music. The white horse itself suggests some creature of heroic fable, yet while it shares this appearance of belonging to an imaginary world with the riders in the background, the picture had its basis in Polynesian reality. The inhabitants used horses as a means of transport in the absence of roads and bridges.
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The Young Dionysius with a Satyr, B
Unknown
3/4 from left front view of Dionysus atop the shoulders of a satyr
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The Young Dionysus with a Satyr, A
Unknown
Front left view of Dionysus atop the shoulders of a satyr
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Three Reclining Women
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.
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Three Reclining Women
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.
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Tomb of Doge Andrea Vendramin (d. 1478), designed before 1492
Unknown
Central part with recumbent doge, attendant figures, sarcophagus with classical draped women, lengthy inscription
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Tomb of Doge Andrea Vendramin (d. 1478), designed before 1492
Unknown
Base at right with various classical motifs
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Tomb of Doge Andrea Vendramin (d. 1478), designed before 1492
Unknown
Classical female virtues of the sarcophagus
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Tomb of Doge Andrea Vendramin (d. 1478), designed before 1492
Unknown
Close detail of left winged genius of the inscription
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Tomb of Doge Andrea Vendramin (d. 1478), designed before 1492
Unknown
Base at left with escutcheron bearer, putti, winged genius
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Tomb of Doge Andrea Vendramin (d. 1478), designed before 1492
Unknown
Recumbent doge, supporting eagle, attendants, female virtues below
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Tomb of Doge Andrea Vendramin (d. 1478), designed before 1492
Unknown
Military captain at left (repl. Adam in original composition)
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Tomb of Doge Andrea Vendramin (d. 1478), designed before 1492
Unknown
Military captain at right (repl. Eve in original composition)
