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.
-
Tomb of Doge Niccolo Marchello (d. 1474)
Unknown
Female virtue, classical architecture, foot of sarcophagus, from front center
-
Tomb of Doge Niccolo Marchello (d. 1474)
Unknown
Female virtue, architectural detail at left, from below left front
-
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
-
Tomb of Doge Niccolo Marchello (d. 1474)
Unknown
Recumbent doge, votive relief of doge presented to Madonna and Child
-
Tomb of Doge Pasquale Malipiero (d.1462)
Unknown
Upper register, entablature, lunette with Christ supported by two angels, allegories of virtues
-
Tomb of Doge Pasquale Malipiero (d.1462)
Unknown
Recumbent doge, classical sarcophagus supported by griffins, eagle's wings and shell
-
Tomb of Doge Pietro Mocenigo (d. 1476)
Unknown
Ancillary figure of Julius Caesar type and relief of Hercules and the Hydra with relief
-
Tomb of Doge Pietro Mocenigo (d. 1476)
Unknown
Pilaster decoration, ancillary figure of Julius Caesar type at right, from left front
-
Tomb of Doge Pietro Mocenigo (d. 1476)
Unknown
2 ancillary figures at left, escutcheon bearer, architectural ornament; from below, front right
-
Tomb of Doge Pietro Mocenigo (d. 1476)
Unknown
Doge, escutcheon and sword bearers, relief on the tomb; from below, front right
-
Tomb of Doge Pietro Mocenigo (d. 1476)
Unknown
Three Marys and angel at Christ's tomb, architectural relief; from below, right front
-
Tomb of Doge Pietro Mocenigo (d. 1476)
Unknown
E male bearers of tomb, illusionistic relief on sarcophagus, from front center
-
Tomb of Doge Pietro Mocenigo (d. 1476)
Unknown
Doge Mocenigo, escutcheon bearer, decorative relief on tomb, from front center
-
Tomb of Doge Pietro Mocenigo (d. 1476)
Unknown
Upper register with risen Christ, relief of three Marys, entablature, arch
-
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
-
Tomb of Giuliano d'Medici, Duke of Nemours (1479-1516)
Unknown
The figure of Night from front center
-
Tomb of Giuliano d'Medici, Duke of Nemours (1479-1516)
Unknown
Close view of three figures from right
-
Tomb of Lorenzo d'Medici, Duke of Urbino (1492-1519)
Unknown
Detail: figure of dawn: head and torso from the left
-
Tomb of Lorenzo d'Medici, Duke of Urbino (1492-1519)
Unknown
Close view of seated figure of Lorenzo from front left
-
Tomb of Lorenzo d'Medici, Duke of Urbino (1492-1519)
Unknown
Detail: figure of dawn: head and torso from right
-
Tomb of Lorenzo d'Medici, Duke of Urbino (1492-1519)
Unknown
Detail: figure of dusk: head and torso from right
-
Tomb of Lorenzo d'Medici, Duke of Urbino (1492-1519)
Unknown
Detail: figure of dawn: close-up of head
-
Tower of the Winds (Horologium of Andronikos Kyrrhestes)
Unknown
Detail of sculptural relief representing the winds
-
Tower of the Winds (Horologium of Andronikos Kyrrhestes)
Unknown
General view from E, with Library of Hadrian behind
-
Tower of the Winds (Horologium of Andronikos Kyrrhestes)
Unknown
View from southwest, with Mount Lykabettus in distance
-
Townscape: the Blue Roofs, Rouen
Unknown
In 1883-84 the bank that employed him got into difficulties and Gauguin was able to paint every day. He settled for a while in Rouen, partly because Paris was too expensive for a man with five children, partly because he thought it would be full of wealthy patrons who might buy his works. Rouen proved a disappointment, and he joined his wife Mette and children, who had gone back to Denmark, where she had been born. His experience of Denmark was not a happy one and, having returned to Paris, he went to paint in Pont-Aven, a well-known resort for artists.
-
Townscape: the Blue Roofs, Rouen Blue Roofs, Rouen
Unknown
Gaugin's desire to return to untouched natural surroundings first took him to look for the
-
Twilight in the Wilderness
Unknown
Church created this painting by combining several different sketches made in Maine and New York. The dramatic light electrifying the entire composition is based on sunsets he witnessed from the window of his New York City studio.Perhaps the artist intended twilight to suggest the end of a cosmic cycle---a meaning that coincides with the feeling that the Civil War would change American civilization forever. The panoramic splendor created by brilliant clouds floating above a tranquil landscape also suggests the divine authority of "manifest destiny," the idea that Americans of European stock had a right to the continent.
-
Twilight in the Wilderness (detail)
Unknown
Church created this painting by combining several different sketches made in Maine and New York. The dramatic light electrifying the entire composition is based on sunsets he witnessed from the window of his New York City studio.Perhaps the artist intended twilight to suggest the end of a cosmic cycle---a meaning that coincides with the feeling that the Civil War would change American civilization forever. The panoramic splendor created by brilliant clouds floating above a tranquil landscape also suggests the divine authority of "manifest destiny," the idea that Americans of European stock had a right to the continent.
-
Twilight in the Wilderness (detail)
Unknown
Church created this painting by combining several different sketches made in Maine and New York. The dramatic light electrifying the entire composition is based on sunsets he witnessed from the window of his New York City studio.Perhaps the artist intended twilight to suggest the end of a cosmic cycle---a meaning that coincides with the feeling that the Civil War would change American civilization forever. The panoramic splendor created by brilliant clouds floating above a tranquil landscape also suggests the divine authority of "manifest destiny," the idea that Americans of European stock had a right to the continent.
-
Two Little Girls (detail)
Unknown
Van Gogh loved children,. Even though he was a great artist, he never painted pictures of children to make them look like children. They always looked like small people with adult facial features
-
Umbrella in the Snow
Unknown
Bonnard and his friends in the 'Nabis' (Prophets) group were inspired by the bold colors of Gaugin's paintings and this influence was predominant in Bonnard's lithographic work. "These pictures are about more than just the passage of time or the consolation of memory. They are about the acceptance that everything in nature surrenders to time...These works crystallise what has always been Bonnard's primary mood, that of elegy. He has often been described as a painter of pleasure, but he is not a painter of pleasure. He is a painter of the effervescence of pleasure and the disappearance of pleasure. His celebration of life is one side of a coin, the other side of which is always present - a lament for transience."
-
Unpleasant Paternal Duties (detail) Unpleasant Duties of a Father
Unknown
Adriaen Brouwer specialised in depicting characters on the edge of society. Their behaviour was looked down on by the members of bourgeois society who saw in it the confirmation of their own moral superiority. During his brief career Brouwer produced only a few dozen works, but revolutionised genre painting with his original synthesis between village scenes with a Bruegelian inspiration and Haarlem genre painting. His great pictorial mastery aroused the admiration of his peers, and painters and collectors like Rubens and Rembrandt owned several of his pictures.
