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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Basket of Flowers
Unknown
Gauguin's uses of flattened areas of color, and of non-naturalistic colors make him one of the important forebears in the modernist trend toward expressionism. He also pioneered appreciation of the simple and primitive, an interest that led him to Martinique in 1887, Tahiti in 1891-1892 and 1895-1901, and finally to the Marquesa Islands, where he died.
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Basket of Fruit
Unknown
Before the 1890s Gauguin flattened his imagery with sometimes unsuccessful results, but throughout that decade his
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Basket of Fruit
Unknown
Before the 1890s Gauguin flattened his imagery with sometimes unsuccessful results, but throughout that decade his
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Bather with Blond Hair
Unknown
Renoir had broken with the the basic essence of the Impressionist movement to apply a more disciplined, formal technique to portraits and figure paintings, particularly of women. This one is of Gabrielle, his maid, who often also posed for his nude paintings.
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Bather with Blond Hair
Unknown
Renoirs early works were typically Impressionist snapshots of real life, full of sparkling colour and light. By the mid-1880s, however, he had broken with the movement to apply a more disciplined, formal technique to portraits and figure paintings, particularly of women. This one is of Gabrielle, his maid, who often also posed for his nude paintings.
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Bathsheba at the Fountain Receiving King David's Letter Bathsheba at the Fountain
Unknown
Between 1623 and 1631, Rubens traveled frequently on diplomatic missions, visiting London and Madrid, where he received peerages from both Charles I of England and Philip IV of Spain. Isabella Brant died in 1626; in 1630 Rubens married the 16-year-old Helene Fourment, who sat for many portraits and other works, " Bathsheba at the Fountain" is one. The twilight decade of 1630
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Bathsheba at the Fountain Receiving King David's Letter (detail) Bathsheba at the Fountain
Unknown
Between 1623 and 1631, Rubens traveled frequently on diplomatic missions, visiting London and Madrid, where he received peerages from both Charles I of England and Philip IV of Spain. Isabella Brant died in 1626; in 1630 Rubens married the 16-year-old Helene Fourment, who sat for many portraits and other works, " Bathsheba at the Fountain" is one. The twilight decade of 1630
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Bathsheba at the Fountain Receiving King David's Letter (detail) Bathsheba at the Fountain
Unknown
Between 1623 and 1631, Rubens traveled frequently on diplomatic missions, visiting London and Madrid, where he received peerages from both Charles I of England and Philip IV of Spain. Isabella Brant died in 1626; in 1630 Rubens married the 16-year-old Helene Fourment, who sat for many portraits and other works, " Bathsheba at the Fountain" is one. The twilight decade of 1630
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Bathsheba at the Fountain Receiving King David's Letter (detail) Bathsheba at the Fountain
Unknown
Between 1623 and 1631, Rubens traveled frequently on diplomatic missions, visiting London and Madrid, where he received peerages from both Charles I of England and Philip IV of Spain. Isabella Brant died in 1626; in 1630 Rubens married the 16-year-old Helene Fourment, who sat for many portraits and other works, " Bathsheba at the Fountain" is one. The twilight decade of 1630
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Battle between Alexander the Great and Darius. from House of the Faun
Unknown
Cose-up of Darius in chariot
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Battle between Alexander the Great and Darius. from House of the Faun
Unknown
Close-up of Alexander on horse
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Battle between Alexander the Great and Darius. from House of the Faun
Unknown
Close-up of Persian soldier
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Beautiful Angele (detail) Madame Angele Satre, the Inkeeper at Pont-Aven
Unknown
In October-December 1888, following the persistent suggestions of his art-dealer, Theo van Gogh, Gauguin visited the man's brother, Vincent, in Arles. His stay with the sick artist, whom he disliked and even despised as a painter, and never bothered to conceal this, finished after a Van Gogh cut off his own ear. His rediscovery of the merits of Degas--especially in his pastels--all combined with his own streak of megalomania to produce a style that had little in common with the thoughtful lyricism of impressionism.
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Beautiful Angele Madame Angele Satre, the Inkeeper at Pont-Aven
Unknown
In October-December 1888, following the persistent suggestions of his art-dealer, Theo van Gogh, Gauguin visited the man's brother, Vincent, in Arles. His stay with the sick artist, whom he disliked and even despised as a painter, and never bothered to conceal this, finished after Van Gogh cut off his own ear. His rediscovery of the merits of Degas--especially in his pastels--all combined with his own streak of megalomania to produce a style that had little in common with the thoughtful lyricism of impressionism.
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Det: E wall of porch: Adoration of the Magi
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Cloister: columns of S aisle, view ESE
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Cloister: close det: capitals of the W aisle
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Cloister: view NE across to the N & E aisles
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Last Judgment: Christ, symbols of the evangelists, and elders
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Cloister: columns of W aisle, view SSW
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Det: W wall of porch: Punishment of Female Unchastity
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Det: E wall of porch: the Annunciation
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Close detail of tympanum on the S portal
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Cloister: close det: capitals, pier & columns of the W aisle, view SSE
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Det of trumeau: female and male lions
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Cloister: capitals of the W aisle, view NE
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Det: W wall of porch: the Visitation
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Cloister: columns of the W aisle, view NE
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Det: E wall of porch: Flight into Egypt
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Abbey Church, S Flank; porch and portal of the narthex
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Det: W wall of porch: Punishment of Avarice
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Bishop Bernward Bronze Doors, commissioned for St. Michael's
Unknown
Panel: Adam and Eve Reproached by the Lord
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Bishop Bernward Bronze Doors, commissioned for St. Michael's
Unknown
Overall view of bronze doors from front center
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Bishop Bernward Bronze Doors, commissioned for St. Michael's
Unknown
Panel: Adam and Eve after the expulsion from paradise
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Blond Boy
Unknown
Head of young man with blond hair, as indicated by the well-preserved traces of yellow paint on hair when found. Thick mop of hair ending in rows of curls in front, braided in back. Somewhat heavy, fleshy features. Head tilted noticeably to right, which corresponds with the fragment of lower torso usually associated with it. Both show elements of early classical pose with weight on left side of body. A proven archaeological context of Persian debris has not been upheld, although the extremely fresh condition of the surface has led most scholars to continue to date this piece prior to the Persian destruction of 480 B.C.
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Blond Boy
Unknown
Schematic treatment of hair links the head with archaic predecessors. Severe, vacant look of face is reminiscent of the Kritios Boy (Athens,Acropolis 698 ), which must be close in date. The strong tilt of the head to the right with a corresponding shift in the torso fragment is characteristic of the emerging Early Classical style. The often cited association with Persian debris is uncertain, hence there is no sure terminus ante quem. Some scholars see a Peloponnesian quality in the work, usually described as a heaviness of form, but there is no hard evidence to link this statue with any known sculptor.
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Blue Water Lilies
Unknown
By his fellow painters Monet was regarded as a leader, not because he was the most intellectual or theoretically minded or because he was able to answer questions that they could not answer, but because in his art he seemed to be more alert to the possibilities latent in their common ideas, which he then developed in his work in a more radical way than did the others. Considering how all these painters developed their intensely personal manners with respect to the new artistic ideas, we may observe that the new elements appeared most often for the first time in the work of Monet and then were taken over by the other Impressionists, who incorporated them as suggestions or as definite means and applied them in their own ways.
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Blue Water Lilies (detail)
Unknown
By his fellow painters Monet was regarded as a leader, not because he was the most intellectual or theoretically minded or because he was able to answer questions that they could not answer, but because in his art he seemed to be more alert to the possibilities latent in their common ideas, which he then developed in his work in a more radical way than did the others. Considering how all these painters developed their intensely personal manners with respect to the new artistic ideas, we may observe that the new elements appeared most often for the first time in the work of Monet and then were taken over by the other Impressionists, who incorporated them as suggestions or as definite means and applied them in their own ways.
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Boating
Unknown
The straw boater (hat) became synonymous with summer leisure. In the hard-scrabble, often oppressive Industrial Revolution, leisure time for many was hard to come by. Owning and wearing a straw boater was the wearer's badge that life had become more than simply hard work. Manet, as well as other artists of the time, use the boater as a symbol of the good life and the emergence of "leisure" as a right and privlage. According to various scholars the man at the tiller may be Rudolph Leenhoff, Manet's brother-in-law.The stippled parts of the painting, made up of mass color, are consistent with the concept of Impressionism, but there are touches of black present, which would have been considered a heresy by the instigators of the movement.
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Boating (detail)
Unknown
The straw boater (hat) became synonymous with summer leisure. In the hard-scrabble, often oppressive Industrial Revolution, leisure time for many was hard to come by. Owning and wearing a straw boater was the wearer's badge that life had become more than simply hard work. Manet, as well as other artists of the time, use the boater as a symbol of the good life and the emergence of "leisure" as a right and privlage. According to various scholars the man at the tiller may be Rudolph Leenhoff, Manet's brother-in-law.The stippled parts of the painting, made up of mass color, are consistent with the concept of Impressionism, but there are touches of black present, which would have been considered a heresy by the instigators of the movement.
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Boulevard des Capucines
Unknown
Monet expresses his fascination with the rebuilding of Paris in 1873, alive with its happy colorful crowds with red balloons that thronged the streets. We are warmed by his luminous play of light and his many colors of snow - dashes of inspiration. "Never before has the elusiveness of movement been caught and held in its fluidity as in this extraordinary Boulevard des Capucines," says a critic of the time.
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Boulevard des Capucines (detail)
Unknown
The Boulevard des Capucines is now a landmark in the history of Impressionism. It was painted during the winter of 1873-74 in the third-floor studio of the famous photographer Gaspard Nadar, located at the corner of the Boulevard des Capucines and the Rue Danou. It figured as no. 97 in the first exhibition of the Impressionist artists, held on the vacated premises of the same studio, which opened on April 15, 1874. The public was mostly shocked and some art critics were scandalized by what they saw. Louis Leroy, writing for the journal Charivari, sneered at the "black tongue-lickings" in the lower part of the painting, saying what a joke it was that these crude scratches could be thought to represent people.
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Boulevard des Capucines (detail)
Unknown
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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Boy of the Bretagne
Unknown
Gauguin evolved towards an increasingly personal treatment of form and colour, and he adapted his technique to new requirements. According to Henri Delavall
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Breakfast Still Life with Blackberry Pie
Unknown
In the early 1630s Heda began to use the compositional structures. He placed the white tablecloth on the left or right-hand edge of the table, so that the middle of the table is not covered and is no longer symmetric. In subsequent 'banketjes' (banquet pieces), the tablecloth was pushed further and further aside - as early as 1638 in Heda's paintings - until it was actually crumpled. Whereas for quite some time food was shown as almost untouchable, precious and just for display, increasing traces of consumption are now visible. The objects were no longer merely intended to embody status-defining values, but became evidence of spontaneous acts which disrupted the festive structures of the framework.
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Breakfast Still Life with Blackberry Pie (detail)
Unknown
A relatively high viewpoint was chosen, apparently to afford a good overall survey of the objects, which are arranged side by side, hardly ever touching or overlapping.
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Breakfast Still Life with Blackberry Pie (detail)
Unknown
The aesthetically conservative principle of tables arranged strictly parallel to the horizontal edges of the painting was followed by Nicolaes Gillis and Floris Claesz van Dijck. (Predecessors were probably family paintings such as Marten van Heemskerck's.) Their still-lifes are classified as 'ontbijtjes' (breakfast still-lifes). Onbijt(je) was a light meal which could be taken at any time of the day.
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Break-up of the ice on the Seine The Ice Blocks near V
Unknown
This shows a wintry early morning view towards two of the narrow islands of trees at Bennecourt near Giverny on the River Seine. By 1890 Monet complemented his on-the-spot Impressionist practice with extensive re-working in the studio. This resulted in many pictures with close-toned atmospheric harmonies. This is most famously evident in his Rouen Cathedral and haystack series, but can also be seen in this work.
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Bretonian Seaside (detail)
Unknown
In 1874 he saw the first Impressionist exhibition, which completely entranced him and confirmed his desire to become a painter. He spent some 17,000 francs on works by Manet, Monet, Sisley, Pissarro, Renoir and Guillaumin. Pissarro took a special interest in his attempts at painting, emphasizing that he should `look for the nature that suits your temperament', and in 1876 Gauguin had a landscape in the style of Pissarro accepted at the Salon.
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Bretonian Seaside (detail)
Unknown
In 1874 he saw the first Impressionist exhibition, which completely entranced him and confirmed his desire to become a painter. He spent some 17,000 francs on works by Manet, Monet, Sisley, Pissarro, Renoir and Guillaumin. Pissarro took a special interest in his attempts at painting, emphasizing that he should `look for the nature that suits your temperament', and in 1876 Gauguin had a landscape in the style of Pissarro accepted at the Salon.
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Bridge at Argenteuil
Unknown
Whereas Manet gained effect by sparkling accents standing out against low tones in his open-air pictures, Monet worked out the equation of light and colour more comprehensively and in more variety. In The Bridge at Argenteuil the equivalence is complete, the glow of light produced by pure and unmixed colour pervades the canvas and surrounds the forms appearing in it. The interplay between the short strokes indicative of ripples and the larger areas of colour is made with a typical flexibility of skill.
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Bridge at Argenteuil (detail) The Highway Bridge at Argenteuil
Unknown
From a distance of ten feet or so, Monet's brushstrokes blend to yield a convincing view of the Seine and the pleasure boats that drew tourists to Argenteuil. Up close, however, each dab of paint is distinct, and the scene dissolves into a mosaic of paint -- brilliant, unblended tones of blue, red, green, yellow. In the water, quick, fluid skips of the brush mimic the lapping surface. In the trees, thicker paint is applied with denser, stubbier strokes.
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Bridge at Arles (detail) The Langlois Bridge at Arles / Drawbridge with Lady with Parasol
Unknown
This is among Vincent van Gogh's most popular paintings. Vincent painted this in Arles in May 1888, three months after leaving Paris where he had painted more than 200 pictures. He had moved to Arles because he was attracted by the bright light of southern France and the warmth of the colors. At the time of this painting he was already living in the right wing of his famous "The Yellow House" which he painted in September.
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Bridge at Arles The Langlois Bridge at Arles / Drawbridge with Lady with Parasol
Unknown
Many consider Van Gogh's Arles period to be the most creative of his career. Indeed, many of Van Gogh's best known works were produced during his time in this proven
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Bundle of Asparagus
Unknown
Manet painted still lifes throughout his career but often limited himself to representing one vegetable or fruit. Manet
