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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Mary Magdalen Altar: Mary Magdalen at center, St. Philip at left, St. Andrew at right
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Overall view of altar with figures
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Mary Magdalen Altar: Mary Magdalen at center, St. Philip at left, St. Andrew at right
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St. Philip and Mary Magdalen, from front right
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Mary Magdalen Altar: Mary Magdalen at center, St. Philip at left, St. Andrew at right
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Closer view of altar with God the Father above
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Mary Magdalen Altar: Mary Magdalen at center, St. Philip at left, St. Andrew at right
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St. Andrew, from front right
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Bacchanal at Andros Bacchanal
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This painting by Titian is the counterpart of the "Garden of loves" which hangs in the same Museum's hall. Both mythological themes were painted for the duke of Ferrara and given to Philip IV as a gift by one of Titian's heirs, much to the consternation of Italian art experts. In this Bacchanal- or feast of Bacchus- Titian illustrates the mythological scene of the arrival of the god of wine to the Isle of Andros, dedicated to him since the rivers ran with wine instead of water. The isle's inhabitants await Bacchus' arrival -his ship with sails unfurled can be seen in the distance. The coloring and movement of the figures are magnificent.
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Portrait of a Gentleman Portrait of a Man
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A sense of calm and expressiveness as well as light effects are outstanding in this canvas. It clearly shows the influence of Giorgione, particularly in the general tone of calm melancholy expressed in the face.
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The Three Philosophers
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The reason for this enigma for this painting is that the theme was made to order for an exclusive patron and known only to him, and the painter. The, landscape attains the same importance as the human figure. Also unprecedented was the way his painting methods concentrated on color effect. Giorgione created an illusion of airiness and atmosphere in his landscapes by using warm, delicately shaded colors over relatively large areas and by letting one hue flow into another similar one. Instead of the geometrically constructed central perspective, he employed the visual experience of an aerial perspective and its sfumato (smoky effect of light and shade), suggesting the spatial depths by colors and contours that melt into the distance.
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A Lady with a Unicorn
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The painting earlier was attributed to Perugino, Ridolfo Ghirlandaio, Granacci. At the time (in 1928) of the identification of the artist as Raphael, the painting had been heavily painted over to represent a St Catherine. After careful cleaning, the perfect geometry and detachment of this courtly figure were revealed, although her identity is not known. Present day critics attribute the work to Raphael, referring it to 1505 and to the Florentine environment. It can, in fact, be inserted among the portraits of that period, for it represents an apex in the artist's stylistic development. The fullness of the well constructed figure is set apart from a vast landscape background.
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The Combat of Love and Chastity The Combat of Love and Chastity : Triumph of Chastity
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Giorgio Vasari, a 16th-century biographer and artist, wrote that the critical Florentines began to lampoon him, and Perugino replied that they had once praised his work, and, if he now gave the same designs, they had no right to blame him. It is certainly true that the
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The Visitation
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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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Madonna of the Little Trees Madonna and Child
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Among Venetian artists, Bellini led the way in fostering the style of "tonalism," which gave less importance to design and graphics while highlighting the tones of light and color. By the time Titian was starting his career, the elderly Bellini was breaking new ground again by adding mythological and allegorical scenes to the religious ones that had dominated the art of the fifteenth century.
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Madonna with St. Peter and Saint Sabastion La Vierge et l'Enfant entre saint Pierre et saint S
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The painting is signed as "IOAnorth-northeastS BELLINVS". Earlier it was attributed to Basaiti, presently the attribution to Bellini is universally accepted.
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Annunciation and Nativity (Altarpiece of Observation)
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The main panel and the predella formed the altarpiece of the church of Observation in Bologna. At both sides of the predella there were two small paintings representing St Clare and St Catherine of Alexandria, presently both in the Thyssen collection in Madrid. The altarpiece was attributed to Mantegna until the end of the 19th century.
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Etienne Chevalier with St. Stephen (right panel) Diptych de Moulin. Etienne Chevalier Presented by St. Stephen
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Estienne Chevalier, who came from Melun, was French Ambassador to England in 1445 and six years later became Treasurer to Charles VII of France. He presented the diptych of which this panel forms the left wing, to his native town; on this wing he had himself painted next to his patron saint, Stephen. The saint, wearing a deacon's robe, is holding a book, on which a jagged stone is lying, as a symbol of his martyrdom. The formal architecture in the background is in the Italian Renaissance style showing pilasters with colored inlaid marble panels between them. On the wall, receding in perspective, the name Estienne Chevalier is inscribed several times.
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The Virgin and Child in a Church (a portable altar)
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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 Adoration of the Magi
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Wealth and culture of the donor are reflected in the lavish use of gold and in the pomp of the Magi procession, including also exotic animals as leopards and monkeys. If in this picture clearly emerges the persistence of International Gothic at the beginning of 15th Century, in the meanwhile the panel is ahead of its time showing in the predella's scenes Nativity, Rest during the Flight into Egypt and Presentation to the Temple) one of the basic innovations of Renaissance art: the blue sky at the place of the traditional gold background
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Annunciation with Saints Ansanus and Margherita The Annunciation and two Saints
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The altarpiece was executed between 1329 and 1333 for the chapel of Sant'Ansano of the Cathedral in Siena by Simone Martini and his brother-in-law Lippo Memmi, to whom are attibuited the two lateral figures: saint Ansano - patron of Siena - and saint Giulitta. On the gold background the figures of Angel Gabriel and the Virgin enhances Gothic line, without narrative details: just the central pot with lilies, symbolizing Mary's purity, and the olive branch. The golden relief inscription starting from the Angel's mouth contains beginning words of the Annunciation.
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St. Francis of Assisi Receiving Stigmata
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Giotto's altar-piece illustrates four episodes in the life of the holy founder of the mendicant order of the Franciscans (1182-1226). With some variants, the compositions are drawn from frescoes executed around 1290 (?) by the young Giotto in the upper Basilica of Assisi. Signed along the lower edge of the frame, the Louvre panel is a decisive element in the attribution of the Assisi cycle to Giotto, which was once contested. He was the first painter in the history of Western art to set figures within a coherent space and give them structural consistency.
