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 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 colours used in the painting serve to heighten its spiritual message.
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The Virgin and Child in a Church (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 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 Visitation
Unknown
A contemporary of Botticelli, Ghirlandaio was head of the main Florentine workshop of the late 15th century. Some of his major works were executed for the Tornabuoni family; the cycle of the Life of the Virgin in the choir of Santa Maria Novella, and soon after, the Louvre pala which was commissioned by Lorenzo Tornabuoni for the chapel of the church of Cestello in Florence (Santa Maria Maddelena dei Pazzi) and completed, according to Vasari, by the two brothers of the artist. The figures, which combine linear grace with monumentality, stand out against a classical arch which opens onto a view of Rome.
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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
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
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
Full length front center
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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
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
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
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
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
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
Athena, from slightly right
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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
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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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
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, from front center
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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
Right side of triumphal arch with Virgin annunciate, entablature, composite capitals, classical tondo
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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
Close detail of left winged genius of the inscription
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Tomb of Doge Andrea Vendramin (d. 1478), designed before 1492
Unknown
Lunette of triumphal arch with St. Andrew presenting Doge to Madonna and Child
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Tomb of Doge Andrea Vendramin (d. 1478), designed before 1492
Unknown
General raking view showing depth of architecture
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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
Military captain at right (repl. Eve in original composition)
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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
Half-length of military captain at right, from front right
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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
Draped female allegory at far left
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Tomb of Doge Antonio Venier (d. 1400) with entrance to Chapel of the Rosary and modern statue of Admiral Sebastiano Venier, hero of Battle of Lepanto
Unknown
General view from front center
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Tomb of Doge Antonio Venier (d. 1400) with entrance to Chapel of the Rosary and modern statue of Admiral Sebastiano Venier, hero of Battle of Lepanto
Unknown
Recumbent doge, Madonna and Child, saints, elaborate sarcophagus
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Tomb of Doge Antonio Venier (d. 1400) with entrance to Chapel of the Rosary and modern statue of Admiral Sebastiano Venier, hero of Battle of Lepanto
Unknown
Elaborate sarcophagus with virtues
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Tomb of Doge Antonio Venier's wife, Agnese (d.1410), and daughter, Ursula (d.1411), and granddaughter Petronilla de Toco
Unknown
General view from front right
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Tomb of Doge Antonio Venier's wife, Agnese (d.1410), and daughter, Ursula (d.1411), and granddaughter Petronilla de Toco
Unknown
Total from front center
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Tomb of Doge Antonio Venier's wife, Agnese (d.1410), and daughter, Ursula (d.1411), and granddaughter Petronilla de Toco
Unknown
Sarcophagus , Virgin & Child, saint, Christ as Man of Sorrows
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Tomb of Doge Niccolo Marchello (d. 1474)
Unknown
Recumbent doge, votive relief of doge presented to Madonna and Child
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Tomb of Doge Niccolo Marchello (d. 1474)
Unknown
Central portion of triumphal arch with sarcophagus, recumbent doge, lunette relief w presentation of doge to Madonna and Child
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Tomb of Doge Niccolo Marchello (d. 1474)
Unknown
Female virtue, classical architecture, foot of sarcophagus, from front center
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Tomb of Doge Niccolo Marchello (d. 1474)
Unknown
Female virtue, architectural detail at left, from below left front
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Tomb of Doge Pasquale Malipiero (d.1462)
Unknown
Upper register, entablature, lunette with Christ supported by two angels, allegories of virtues
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Tomb of Doge Pasquale Malipiero (d.1462)
Unknown
Recumbent doge, classical sarcophagus supported by griffins, eagle's wings and shell
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Tomb of Doge Pietro Mocenigo (d. 1476)
Unknown
Ancillary figure of Julius Caesar type and relief of Hercules and the Hydra with relief
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Tomb of Doge Pietro Mocenigo (d. 1476)
Unknown
Upper register with risen Christ, relief of three Marys, entablature, arch
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Tomb of Doge Pietro Mocenigo (d. 1476)
Unknown
Central arch with doge standing on sarcophagus, 2 youthful escutcheon bearers, 3 men supporting tomb, from front center
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Tomb of Doge Pietro Mocenigo (d. 1476)
Unknown
E male bearers of tomb, illusionistic relief on sarcophagus, from front center
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Tomb of Doge Pietro Mocenigo (d. 1476)
Unknown
Three Marys and angel at Christ's tomb, architectural relief; from below, right front
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Tomb of Doge Pietro Mocenigo (d. 1476)
Unknown
Pilaster decoration, ancillary figure of Julius Caesar type at right, from left front
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Tomb of Doge Pietro Mocenigo (d. 1476)
Unknown
2 ancillary figures at left, escutcheon bearer, architectural ornament; from below, front right
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Tomb of Doge Pietro Mocenigo (d. 1476)
Unknown
Doge, escutcheon and sword bearers, relief on the tomb; from below, front right
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Tomb of Doge Pietro Mocenigo (d. 1476)
Unknown
Doge Mocenigo, escutcheon bearer, decorative relief on tomb, from front center
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Tomb of Giuliano de'Medici, Duke of Nemours (1479-1516)
Unknown
Close view of three figures from right
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Tomb of Giuliano de'Medici, Duke of Nemours (1479-1516)
Unknown
The figure of Night from front center
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Tomb of Lorenzo de'Medici, Duke of Urbino (1492-1519)
Unknown
Detail: figure of dusk: head and torso from right
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Tomb of Lorenzo de'Medici, Duke of Urbino (1492-1519)
Unknown
Detail: figure of dawn: head and torso from right
