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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Tomb of Lorenzo de'Medici, Duke of Urbino (1492-1519)
Unknown
Detail: figure of dawn: close-up of head
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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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Tower of the Winds (Horologium of Andronikos Kyrrhestes)
Unknown
General view from E, with Library of Hadrian behind
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Tower of the Winds (Horologium of Andronikos Kyrrhestes)
Unknown
Detail of sculptural relief representing the winds
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Tower of the Winds (Horologium of Andronikos Kyrrhestes)
Unknown
View from SW, with Mount Lykabettus in distance
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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.
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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
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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.
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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.
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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.
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Two Little Girls
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.
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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
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Umbrella in the Snow
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Bonnard and his friends in the 'Nabis' (Prophets) group were inspired by the bold colours 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."
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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.
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Upper Portions of the Mycenaen Citadel at Tiryns
Unknown
View up the stairs from fortified entry of W bastion
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Upper Portions of the Mycenaen Citadel at Tiryns
Unknown
Closer view of fortified entry of W bastion
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Upper Portions of the Mycenaen Citadel at Tiryns
Unknown
View back toward fortified entry through corbeled passage
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Venetian Lady of the Barbarigo Family
Unknown
At first, pastels were reserved for the quick, color sketches for which they were designed. But gradually, because of the speed with which they could be used, they became popular with those lacking the time and patience to sit for an oil portrait. And, being done on paper, not to mention mostly by women, they were no doubt cheaper than oils. But Carriera not only proved the equal to any male portrait painter in Venice, but also proved pastels the equal of oils in their richness, color, and handling. She was accepted as one of the few female members of the Guild of St. Luke (doctors and artists) and later, the French Academy.
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View from the Sanctuary of Apollo toward the Gymnasium complex and the Sanctuary of Athena Pronaia
Unknown
Telephoto view E
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View of Dresden from the Right Bank below the Augustus Bridge (detail) View of Dresden with the Hofkirche at Right
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The complementary views are taken from each bank of the river Elbe to make the most of the city's superb site and to show its elegant Baroque and Rococo architecture to best advantage. So accurately painted are Bellotto's views of Dresden that they have b een used by German authorities to help reconstruct the city's monuments after their destruction during World War II. Bellotto's work is often confounded with those of his celebrated uncle, Canaletto. He imitated his uncle's style and even signed his paintings with the same nickname.
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View of Dresden from the Right Bank below the Augustus Bridge View of Dresden with the Hofkirche at Right
Unknown
The complementary views are taken from each bank of the river Elbe to make the most of the city's superb site and to show its elegant Baroque and Rococo architecture to best advantage. So accurately painted are Bellotto's views of Dresden that they have b een used by German authorities to help reconstruct the city's monuments after their destruction during World War II. Bellotto's work is often confounded with those of his celebrated uncle, Canaletto. He imitated his uncle's style and even signed his paintings with the same nickname.
