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Digital Commons @ USF > USF Libraries > USF Digital Collections > Tampa Digital Collections > Tampa Special Collections > Arts and Humanities > Art and Art History

Art and Art History Collection (Saskia)
 

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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  • Women in a Garden by Unknown

    Women in a Garden

    Unknown

    Couple at left

  • Women in a Garden by Unknown

    Women in a Garden

    Unknown

  • Women Ironing Laungry maids by Unknown

    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.

  • Women Ironing Laungry maids by Unknown

    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.

  • Wounded Gaul by Unknown

    Wounded Gaul

    Unknown

    This statue from Pergamon in modern Turkey may be a Roman copy of a third-century BC bronze statue that was part of a group commemorating a Hellenistic victory over the Galatians, who were Celtic settlers in Asia Minor. In 278 BC several Celtic tribes crossed over into Asia Minor against whom the Attalids of Pergamum fought in defense of the Greek cities in the region. Around 225 BC, two great monuments were set up on the acropolis at Pergamum to celebrate those victories. The inscribed bases still survive and permit later marble copies to be recognized.

  • Wounded Gaul by Unknown

    Wounded Gaul

    Unknown

    This statue from Pergamon in modern Turkey may be a Roman copy of a third-century BC bronze statue that was part of a group commemorating a Hellenistic victory over the Galatians, who were Celtic settlers in Asia Minor. In 278 BC several Celtic tribes crossed over into Asia Minor against whom the Attalids of Pergamum fought in defense of the Greek cities in the region. Around 225 BC, two great monuments were set up on the acropolis at Pergamum to celebrate those victories. The inscribed bases still survive and permit later marble copies to be recognized.

  • Wounded Man (Self Portrait) Portrait of the Artist, called "The Wounded Man" by Unknown

    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.

  • Wounded Warrior by Unknown

    Wounded Warrior

    Unknown

    Full length front center

  • Wounded Warrior by Unknown

    Wounded Warrior

    Unknown

    Full length front left

  • Young Amphora-Bearers (hydriaphoroi). from Parthenon Frieze by Unknown

    Young Amphora-Bearers (hydriaphoroi). from Parthenon Frieze

    Unknown

    Detail of amphora-bearers

  • Young Amphora-Bearers (hydriaphoroi). from Parthenon Frieze by Unknown

    Young Amphora-Bearers (hydriaphoroi). from Parthenon Frieze

    Unknown

    Total from the front

  • Young Athlete by Unknown

    Young Athlete

    Unknown

    Full length front center (1)

  • Young Athlete by Unknown

    Young Athlete

    Unknown

    Full length from right front

  • Young Girl with Flowered Hat by Unknown

    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.

  • Young Girl with Flowered Hat (detail) by Unknown

    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.

  • Young Lady in Evening Gown by Unknown

    Young Lady in Evening Gown

    Unknown

  • Young Lady in Evening Gown by Unknown

    Young Lady in Evening Gown

    Unknown

    Bust, brushwork

  • Young Lady Reading a Letter by Unknown

    Young Lady Reading a Letter

    Unknown

    Young lady, reflection, letter, still life

  • Young Lady Reading a Letter by Unknown

    Young Lady Reading a Letter

    Unknown

  • Young Man in Costume of a Majo by Unknown

    Young Man in Costume of a Majo

    Unknown

  • Young St. John the Baptist by Unknown

    Young St. John the Baptist

    Unknown

    Front center

  • Young St. John the Baptist by Unknown

    Young St. John the Baptist

    Unknown

    Half length front left

  • Young Woman Sewing by Unknown

    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.

  • Young Woman Sewing (detail) Young Woman Sewing in a Garden by Unknown

    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.

  • Young Woman with a Mirror by Unknown

    Young Woman with a Mirror

    Unknown

    Young woman

  • Young Woman with a Mirror by Unknown

    Young Woman with a Mirror

    Unknown

  • Youthful Athlete by Unknown

    Youthful Athlete

    Unknown

    Bust from left front

  • Youthful Athlete by Unknown

    Youthful Athlete

    Unknown

    Total from front right

  • Youthful Athlete by Unknown

    Youthful Athlete

    Unknown

    Total from behind

  • Youthful Athlete by Unknown

    Youthful Athlete

    Unknown

    Total from front

  • Youthful Athlete by Unknown

    Youthful Athlete

    Unknown

    Total from front left

  • Youthful Self-Portrait by Unknown

    Youthful Self-Portrait

    Unknown

  • Youth of Antikythera by Unknown

    Youth of Antikythera

    Unknown

    3/4 length from left center

  • Youth of Antikythera by Unknown

    Youth of Antikythera

    Unknown

    3/4 length from left front

  • Youth of Antikythera by Unknown

    Youth of Antikythera

    Unknown

    View from rear center

  • Youth of Antikythera by Unknown

    Youth of Antikythera

    Unknown

    Detail of head from left

  • Youth of Antikythera by Unknown

    Youth of Antikythera

    Unknown

    Full length from front center

  • Youth of Antikythera by Unknown

    Youth of Antikythera

    Unknown

    1/4 length from front center

  • Zeus by Unknown

    Zeus

    Unknown

    Upper half from front

  • Zeus by Unknown

    Zeus

    Unknown

    Detail of head: left profile

  • Zeus by Unknown

    Zeus

    Unknown

    Total from front

  • Zeus by Unknown

    Zeus

    Unknown

    Total from right front

  • Zeus with Ganymede (probably a central akroterion) by Unknown

    Zeus with Ganymede (probably a central akroterion)

    Unknown

    Full length from front

  • Zeus with Ganymede (probably a central akroterion) by Unknown

    Zeus with Ganymede (probably a central akroterion)

    Unknown

    Detail: Zeus holding Ganymede

  • Zeus with Ganymede (probably a central akroterion) by Unknown

    Zeus with Ganymede (probably a central akroterion)

    Unknown

    Detail: head of Zeus

 

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