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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Winged Bulls. From entrance to Palace of King Sargon II at Khorsabad
Unknown
Bearded head of winged bull, from front right
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Winged Bulls. From entrance to Palace of King Sargon II at Khorsabad
Unknown
cuneiform inscription between the bull's legs
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Winged Bulls. From entrance to Palace of King Sargon II at Khorsabad
Unknown
head and body from right front
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Winged Bulls. From entrance to Palace of King Sargon II at Khorsabad
Unknown
Close det: cuneiform inscription between the bull's legs
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Winged Bulls. From entrance to Palace of King Sargon II at Khorsabad
Unknown
Total entrance composition
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Winged Bulls. From entrance to Palace of King Sargon II at Khorsabad
Unknown
Total of left bull from front
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Winged Bulls. From entrance to Palace of King Sargon II at Khorsabad
Unknown
Close det: bearded head of winged bull, from right front
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Winter Landscape with Houses Effect of Snow
Unknown
Gaugins desire to return to untouched natural surroundings first took him to Brittany, looking for the
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Wisdom Victorious Over the Vices
Unknown
Close-up of Minerva, showing feathers, armor, drapery, brushwork
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Woman with a Coffeepot
Unknown
The intelligence and the eye of the painter were able to strip away that which was diffuse and superimposed in the view of a given mass, in order to analyze its constituent elements. He chose to rediscover a more substantial reality of simple forms behind the glimmering veil of appearances, an almost Platonic conception of the Mediterranean intellect. "Everything in Nature is modeled after the sphere, the cone and the cylinder. One must learn to paint from these simple figures". Cezanne.
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Woman with a Coffeepot
Unknown
The intelligence and the eye of the painter were able to strip away that which was diffuse and superimposed in the view of a given mass, in order to analyze its constituent elements. He chose to rediscover a more substantial reality of simple forms behind the glimmering veil of appearances, an almost Platonic conception of the Mediterranean intellect. "Everything in Nature is modeled after the sphere, the cone and the cylinder. One must learn to paint from these simple figures". Cezanne.
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Woman with a Coffee pot
Unknown
The intelligence and the eye of the painter were able to strip away that which was diffuse and superimposed in the view of a given mass, in order to analyze its constituent elements. He chose to rediscover a more substantial reality of simple forms behind the glimmering veil of appearances, an almost Platonic conception of the Mediterranean intellect. "Everything in Nature is modeled after the sphere, the cone and the cylinder. One must learn to paint from these simple figures". Cezanne.
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Women Ironing Laungry maids
Unknown
Among Degas's pictures of women, he fostered an interest over many years in the subject of laundresses. These "women ironing" are far from idealized. Degas's laundresses would have been familiar figures. He shows them sweating away in cramped, dark basements, enabling the well-to-do to have clean, crisp shirts in which to go to the opera, and fresh bed and table linen for elegant sleeping and dining. What Degas conveys is the posture and gesture involved in this menial but skilled work. The arm that lifts and moves the weighty iron contrasts with the woman's other hand, used delicately to maneuver the cloth. As with his dancers, Degas is fascinated by a body so engrossed in activity that it is unselfconscious.
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Women Ironing Laungry maids
Unknown
Among Degas's pictures of women, he fostered an interest over many years in the subject of laundresses. These "women ironing" are far from idealized. Degas's laundresses would have been familiar figures. He shows them sweating away in cramped, dark basements, enabling the well-to-do to have clean, crisp shirts in which to go to the opera, and fresh bed and table linen for elegant sleeping and dining. What Degas conveys is the posture and gesture involved in this menial but skilled work. The arm that lifts and moves the weighty iron contrasts with the woman's other hand, used delicately to maneuver the cloth. As with his dancers, Degas is fascinated by a body so engrossed in activity that it is unselfconscious.
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Wounded Man (Self Portrait) Portrait of the Artist, called "The Wounded Man"
Unknown
Courbet ,who in his pictures constantly examined himself and his artistry, often re-worked his portraits according to his moods and viewpoints, and it is possible that the painful separation from his lover in the years between 1851-54 prompted "The Wounded Man". He sees himself as wounded by heartache and abandoned in a twilit landscape. One can hardly overlook the similarity between his figure and that of Christ. Identifying with Christ gave the artist the possibility of expressing his status as that of a pariah fired by an ideal, as one burdened with insight in an uncomprehending society.
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Young Girl with Flowered Hat
Unknown
Courbet himself later asserted that from 1848 on, he concentrated on "realistic" subjects. His efforts were more consciously designed to arouse controversy than Millet's had been. He coined the term realism to define his interest in the actual circumstances of his day. Despite his realism, however, Courbet controlled his images, underscoring the dramatic and symbolic nature of his subjects so that his paintings had an intellectual as well as a visual component.
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Young Girl with Flowered Hat (detail)
Unknown
Courbet himself later asserted that from 1848 on, he concentrated on "realistic" subjects. His efforts were more consciously designed to arouse controversy than Millet's had been. He coined the term realism to define his interest in the actual circumstances of his day. Despite his realism, however, Courbet controlled his images, underscoring the dramatic and symbolic nature of his subjects so that his paintings had an intellectual as well as a visual component.
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Young Woman Sewing
Unknown
The most famous female Impressionist painter, Mary Cassatt, was born on 22 May, 1844 in Allegheny, near Pittsburgh, Pennsylvania. The Cassatt family was affluent and cultured: Mary's father was a stockbroker, while her mother, who came from an old established Pennsylvania family, was an accomplished woman who spoke French and read widely, and provided Mary with an excellent example to follow. It is, perhaps, no accident that so many of the women in Mary Cassatt's paintings are engaged in simple, self-contained tasks like reading or sewing, since these were the everyday activities of the Cassatt household.
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Young Woman Sewing (detail) Young Woman Sewing in a Garden
Unknown
The most famous female Impressionist painter, Mary Cassatt, was born on 22 May, 1844 in Allegheny, near Pittsburgh, Pennsylvania. The Cassatt family was affluent and cultured: Mary's father was a stockbroker, while her mother, who came from an old established Pennsylvania family, was an accomplished woman who spoke French and read widely, and provided Mary with an excellent example to follow. It is, perhaps, no accident that so many of the women in Mary Cassatt's paintings are engaged in simple, self-contained tasks like reading or sewing, since these were the everyday activities of the Cassatt household.
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The Plain near Auvers
Unknown
In Auvers, Van Gogh chose to paint a large number of landscapes on canvases . A letter to Theo describes the sadness and loneliness he wished these paintings to express, but also his desire to show how 'healthy and heartening' he found the countryside.
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Portrait: Dr. Paul Gachet, the Doctor Portrait of Doctor Gachet
Unknown
The Portrait of Doctor Gachet is one of Van Gogh's most famous paintings. It's notable for a number of reasons. It was painted in the last few months of Vincent's life and the subject has been the focus of a great deal of controversy. How competent was Doctor Gachet? What did Vincent mean when he wrote to Theo "First of all, he is sicker than I am, I think, or shall we say just as much"
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Roses and Anemones Still Life: Japanese Vase with Roses and Anemones
Unknown
Throughout June, Vincent remained in good spirits and was remarkably productive, painting some of his best known works.
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Thatch at Montcel
Unknown
In Auvers-sur-Oise, back in a village community such as he had not known since Nuenen, four years earlier, van Gogh worked at first enthusiastically; his choice of subjects such as fields of corn, the river valley, peasants' cottages, the church, and the town hall reflects his spiritual relief. A modification of his style followed: the natural forms in his paintings became less contorted, and in the northern light he adopted cooler, fresh tonalities. His brushwork became broader and more expressive and his vision of nature more lyrical. Everything in these pictures seems to be moving, living.
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Thatch at Montcel Thatches of Cordeville with Auvers-on-Oise
Unknown
In Auvers-sur-Oise, back in a village community such as he had not known since Nuenen, four years earlier, van Gogh worked at first enthusiastically; his choice of subjects such as fields of corn, the river valley, peasants' cottages, the church, and the town hall reflects his spiritual relief. A modification of his style followed: the natural forms in his paintings became less contorted, and in the northern light he adopted cooler, fresh tonalities. His brushwork became broader and more expressive and his vision of nature more lyrical. Everything in these pictures seems to be moving, living.
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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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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 Artist's Room at Arles The Bedroom at Arles
Unknown
Some of the citizens of Arles had become alarmed by Vincent's behaviour and signed a petition detailing their concerns. The petition was submitted to the mayor of Arles and eventually to the superintendent of police who ordered Van Gogh readmitted to the H
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Interior of Men's Hospital at Arles Ward in the Hospital in Arles
Unknown
After recurrent attacks of his illness, Van Gogh decided to admit himself to a mental health clinic in Saint-R
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The Belgian Painter Eugene Bloch (1855-1941) Portrait of Eugene Boch
Unknown
He wrote beautiful letters. Tracing his intellectual sources, we found things we didn't know before," researcher Leo Jansen said. "We can see the complete scope of his visual input." In one case, the researchers deciphered a note from van Gogh to Paul Gauguin that had been scribbled and then erased on the back of a sketch that the Dutchman sent to a friend, Eugene Boch. The note told Gauguin that, like a diamond from deep in the earth, art comes from deep within the artist, and urged Gauguin, "not to lower our prices," said Jansen.
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Caravans. Gypsy Encampment
Unknown
In his thirty-seven years, Vincent van Gogh practically created the archetype of the artist as unknown, tortured, starving genius. Now almost as well known for his persona of mad anguish (best typified in the infamous ear-mutilation incident of 1888) as for his paintings, the anonymity in which he lived his life ironically underscores the radical nature of his work within an historical context. He profoundly influenced the Expressionist and Fauvists (along with the majority of 20th century art) through his bold use of color, distorted perspective, coarse brushwork, and emotionally explosive style.
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Restaurant 'La Sirene' in Asmiere
Unknown
Together with Bernard, Gauguin and Toulouse-Lautrec, he exhibited his works; they also decorated the walls with Japanese colored woodcuts. They called themselves
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Self Portrait with Hat. (detail)
Unknown
In February 1886 he moved to Paris, where he met Pissarro, Degas, Gauguin, Seurat, and Toulouse-Lautrec. At this time his painting underwent a violent metamorphosis under the combined influence of Impressionism and Japanese woodcuts, losing its moralistic flavour of social realism. Van Gogh became obsessed by the symbolic and expressive values of colors and began to use them for this purpose rather than, as did the Impressionists, for the reproduction of visual appearances, atmosphere, and light. `Instead of trying to reproduce exactly what I have before my eyes,' he wrote, `I use color more arbitrarily so as to express myself more forcibly'.
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Self Portrait (detail) Portrait de L'Artiste
Unknown
One is struck by the profusion of red and blue dots swarming over the dark green background and by the manner in which the reddish brown of the jacket is rendered in a kind of mosaic of dark blue-green, orange-red, and yellow dots. The bright red beard and yellow-brown hair have been built up from separate brushstrokes in forceful colors, and Vincent has left touches of unmixed complementary green in the eyebrows, hair and beard. Van Gogh painted 24 self-portraits during a two-year stay in Paris (1886-88). In this Self-Portrait,the Dutch artist employed Seurat's dot technique. But what for Seurat was a method based on science became in van Gogh's hands an intense emotional language.
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Boulevard des Capucines (detail)
Claude Monet
To modern eyes, Monet's painting records truthfully the appearance of a crowded street scene viewed from a distance. But at the time of its creation, the Boulevard des Capucines disturbed the conventional notion of a stable, measured environment as represented in traditional 19th-century French painting. Monet's painting and the other pictures exhibited with it--by artists such as Renoir, Sisley, Cezanne and Degas--implied a willful rejection of the officially learned craft of painting taught by the Academy and hallowed within the institutional framework of the Salon system.
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The Origin of the World
Unknown
One of the most notoriously graphic portraits of all time, is Courbet's The Origin of the World, a full-frontal legs-spread record of a woman's torso from her breasts to her thighs. Courbet, who had a brilliantly and bluntly Realist style, was possibly the only artist alive who would, or could, have painted this unblinking portrait.
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Set of Drawings underneath the Medici Chapel, San Lorenzo, Florence
Unknown
Two Pair of Legs: those of the seated Giuliano d'Medici and Striding Lower Legs seen from behind. These drawings were done while Michelangelo was hiding from the Medici force after the siege of Florence and were only discovered in 1975.
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Set of Drawings underneath the Medici Chapel, San Lorenzo, Florence
Unknown
Detail of torso of man and large head. These drawings were done while Michelangelo was hiding from the Medici force after the siege of Florence and were only discovered in 1975
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Polychrome Monument to Senator Giambattista Bonzio (d. 1508)
Unknown
The arch w sarcophagus & recumbent senator, virtues, polychrome architecture
