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.
-
Arco Foscari, Triumphal Arch facing the Scala dei Giganti, Courtyard of Doge's Palace (1608-15)
Unknown
General view of S façade and courtyard façade of Doge's Palace (early 17th c)
-
Arco Foscari, Triumphal Arch facing the Scala dei Giganti, Courtyard of Doge's Palace (1608-15)
Unknown
Detail view of courtyard façade w. Baroque clock
-
Arco Foscari, Triumphal Arch facing the Scala dei Giganti, Courtyard of Doge's Palace (1608-15)
Unknown
Detail view of crowning pinnacles from S
-
Arco Foscari, Triumphal Arch facing the Scala dei Giganti, Courtyard of Doge's Palace (1608-15)
Unknown
Overall diagonal view from gallery of the palace
-
Arco Foscari, Triumphal Arch facing the Scala dei Giganti, Courtyard of Doge's Palace (1608-15)
Unknown
Total view of S façade w. statue of Condottiere Francesco Maria I delle Rovere (1490-1538) by G. Bandini
-
Ares and Aphrodite as Lovers (detail) Venus and Mars
Unknown
Several works from the buried city of Pompeii depict the goddess and her associates. The house where this is located is now named the "House of Venus". Venus sitting close to her lover, the god of war Mars; she is holding his spear while the little Cupid below tries on his warrior's helmet. Mars unwraps Venus' dress, while cupids play with Mars' armor.
-
Ares and Aphrodite as Lovers (detail) Venus and Mars
Unknown
Several works from the buried city of Pompeii depict the goddess and her associates. The house where this is located is now named the "House of Venus". Venus sitting close to her lover, the god of war Mars; she is holding his spear while the little Cupid below tries on his warrior's helmet. Mars unwraps Venus' dress, while cupids play with Mars' armor.
-
Ares, Aphrodite, Artemis, Apollo and Zeus Watching the Trojan War, Battle Detail
Unknown
Greeks and Trojans engaged in battle on right side of frieze
-
Ares, Aphrodite, Artemis, Apollo and Zeus Watching the Trojan War, Gods Detail
Unknown
Detailed view of gods on left side of frieze
-
Ascent of St. John the Evangelist into Heaven Ascension of St John the Evangelist
Unknown
Giotto is regarded as the founder of the central tradition of Western painting because his work broke free from the stylizations of Byzantine art, introducing new ideals of naturalism and creating a convincing sense of pictorial space. The decoration of the Peruzzi Chapel in Santa Croce was probably carried out not long after the works in the Lower Curch at Assisi. Unfortunately, the Peruzzi cycle was extensively repainted, and what remains of the original frescoes, revealed during a recent restoration is in a bad state of preservation. There is still much controversy over the dating of this chapel and that of the Bardi family adjoining it, the probable date is between 1315-1320.
-
Ascent of St. John the Evangelist into Heaven Ascension of St John the Evangelist
Unknown
Giotto is regarded as the founder of the central tradition of Western painting because his work broke free from the stylizations of Byzantine art, introducing new ideals of naturalism and creating a convincing sense of pictorial space. The decoration of the Peruzzi Chapel in Santa Croce was probably carried out not long after the works in the Lower Curch at Assisi. Unfortunately, the Peruzzi cycle was extensively repainted, and what remains of the original frescoes, revealed during a recent restoration is in a bad state of preservation. There is still much controversy over the dating of this chapel and that of the Bardi family adjoining it, the probable date is between 1315-1320.
-
Assumption of the Virgin, 1580s? central panel, ceiling of Cappella del Rosario. Venice, Ss. Giovanni e Paolo
Unknown
Total, restored in 1958
-
Assumption of the Virgin, 1580s? central panel, ceiling of Cappella del Rosario. Venice, Ss. Giovanni e Paolo
Unknown
Assumption (Veronese), carved ceiling (Vittoria)
-
Atala Carried to the Grave Burial of Atala
Unknown
In this scene, Atala's beloved American Indian lover
-
Atala Carried to the Grave (detail) Burial of Atala
Unknown
"Whosoever had not known that this young maiden had once enjoyed the light of day would have taken her for a statue of virginity asleep," wrote Fran
-
Athena (from a Colossal Statue), A
Unknown
Athena's head faces front center, adorned with a toga and helmet
-
Athena (from a Colossal Statue), B
Unknown
View from the left side facing statue, 2/3 of profile visible
-
Athena from East Pediment of Temple of Athena Polis depicting Gigantomachy, Detail
Unknown
Detail of head from below
-
Athena from East Pediment of Temple of Athena Polis depicting Gigantomachy, Upper Portion
Unknown
Upper body detail
-
A Tiger Hunt
Unknown
Baudelaire: "Romanticism is precisely situated neither in choice of subject matter nor in exact truth, but in a way of feeling." The greatest French Romantic painter, whose use of color was influential in the development of both Impressionist and Post-Impressionist painting. His inspiration came chiefly from historical or contemporary events or literature, and a visit to Morocco in 1832 provided him with further exotic subjects. Among his later easel paintings are ones on Arab, religious, and classical subjects and several superb scenes of wild animals and hunts.
-
At the Milliner's (detail) The Milliner
Unknown
Manet did a large number of pastels in broad, determined strokes . In much of his art Indeed, little or no attempt is made to accurately depict the appearance or form of objects in the realm of nature or the existing physical world. The door of the objective world was thus closed, but the inner world of the imagination offered seemingly infinite possibilities for exploration, as did the manipulation of pigments on a flat surface for their purely intrinsic visual or aesthetic appeal.
-
At the Milliner's The Milliner
Unknown
Manet did a large number of pastels iIn broad, determined strokes . In much of his art Indeed, little or no attempt is made to accurately depict the appearance or form of objects in the realm of nature or the existing physical world. The door of the objective world was thus closed, but the inner world of the imagination offered seemingly infinite possibilities for exploration, as did the manipulation of pigments on a flat surface for their purely intrinsic visual or aesthetic appeal.
-
August III, King of Poland (Friedrich August II of Saxony)
Unknown
Mengs was widely regarded in his day as Europe's greatest living painter. He eschewed the dramatic illusionism and dynamism of the Baroque style in his figural compositions, preferring instead to blend quotations from ancient sculptures with stylistic elements of Raphael, Correggio, and Titian. The results are generally cold, insipid, and contrived, however, and Mengs's reputation has declined precipitously since the 18th century. Some of his portraits display a freedom and sureness of touch entirely lacking in his more ambitious works. Mengs's treatise Reflections on Beauty and Taste in Painting (1762) was also influential in his day. He worked for the Saxon court of Elector Augustus III.
-
Autumn Mountains
Unknown
Tung Ch'i-ch'ang (1555-1636) advocated the Southern School Tung-Chu style over the Northern School associated with the Li-Kuo style. Thus, artists who chose to work in the Li-Kuo style often only did so only to complete their repertoire, but with a decidedly Southern School accent. Tung Ch'i-ch'ang, employing only monochrome ink, depicts mountains and boulders, trees and woods, streams and rivers, and cottages and slopes-all well placed in a landscape that is here piled into a composition of power and grandeur.
-
A Venetian Procurator Portrait of a Man
Unknown
Carriera was born in Venice, which remained her favorite city despite her occasional journeys elsewhere. She is of particular art historical importance because she popularized the pastel portrait. Pastels were first used for making copies of oil paintings but by the late 1600's artists began to enjoy the speed and the variety of effects available from their use. Pastels were the ideal medium for the Rococo-style portraits that she created for her distinguished patrons. Carriera was primarily known for her ability to flatter sitters while retaining a sense of their individuality. She spent the last decade of her life totally blind.
-
A Woman Having Her Hair Combed
Unknown
Degas applied pastel in so many successive layers that the pigment became burnished and the underlying paper rubbed to such an extent that the fibers were loosened and now project from the surface like many little hairs. Although usually associated with the French Impressionists, Degas' work was more tightly controlled, more painstakingly composed, and more visually immediate than that of other artists of his time. Paintings from his early years aim for an academic, historical style, and are nowhere near as interesting as those that followed his decision not to be a history painter. His portraits are remarkably complex and psychological, powerfully capturing the dynamics between the people pictured.
-
A Woman Reading
Unknown
Renoir joined the art school of Charles Gleyre in 1862. At the Gleyre's studio he worked with other young artists with whom he had become friendly and these were the future Impressionist painters Claude Monet (1840-1924), Alfred Sisley (1839-1899) and Jean-Fr
-
A Woman Reading
Unknown
Renoir joined the art school of Charles Gleyre in 1862. At the Gleyre's studio he worked with other young artists with whom he had become friendly and these were the future Impressionist painters Claude Monet (1840-1924), Alfred Sisley (1839-1899) and Jean-Fr
-
A Woman with Braided Blond Hair
Unknown
Helena was to inspire some of the most personal and poignant portraits of Rubens' later career, and their marriage was as fruitful as it was blissful, producing five children. Rubens often identified Helena with the goddess Venus. The art of Peter Paul Rubens is a fusion of the traditions of Flemish realism with the classicizing tendencies of the Italian Renaissance. Rubens was able to infuse his own astounding vitality into a powerful and exuberant style that came to epitomize the Baroque art of the 17th century.
-
A Woman with Braided Blond Hair
Unknown
Helena was to inspire some of the most personal and poignant portraits of Rubens' later career, and their marriage was as fruitful as it was blissful, producing five children. Rubens often identified Helena with the goddess Venus. The art of Peter Paul Rubens is a fusion of the traditions of Flemish realism with the classicizing tendencies of the Italian Renaissance. Rubens was able to infuse his own astounding vitality into a powerful and exuberant style that came to epitomize the Baroque art of the 17th century.
-
Bacchanal at Andros Bacchanal
Unknown
The coloring and movement of the figures are magnificent; and, of course, the splendid reclining female nude.
-
Bacchanal at Andros Bacchanal
Unknown
The coloring and movement of the figures are magnificent; and, of course, the splendid reclining female nude at whose side reels a drunk child.
-
Bacchanal at Andros Bacchanal
Unknown
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.
-
Bacchanal at Andros Bacchanal at Andros (detail)
Unknown
The coloring and movement of the figures are magnificent; and, of course, the splendid reclining female nude at whose side reels a drunk child.
-
Bacchanal at Andros (detail) Bacchanal
Unknown
The isle's inhabitants await Bacchus' arrival -his ship with sails unfurled can be seen in the distance.
-
Ballet Class
Unknown
Edgar Degas once said, "No art was ever less spontaneous than mine. A picture is an artificial work, outside nature. It calls for as much cunning as the commission of a crime." Yet this painting almost seems spontaneous--Degas has captured young ballerinas of the Paris opera house at their most natural, when they are practicing unselfconsciously behind the scenes, not performing for the public. The Ballet Class is full of such paradoxes, or contradictions...
-
Ballet Class
Unknown
Edgar Degas once said, "No art was ever less spontaneous than mine. A picture is an artificial work, outside nature. It calls for as much cunning as the commission of a crime." Yet this painting almost seems spontaneous--Degas has captured young ballerinas of the Paris opera house at their most natural, when they are practicing unselfconsciously behind the scenes, not performing for the public. The Ballet Class is full of such paradoxes, or contradictions...
-
Ballet Rehearsal on Stage
Unknown
Among the supreme masterpieces of the century are Degas's pictures of the ballet and its dancers. The impulse towards painting the contemporary scene came to him not only from Courbet and Manet but from his friend, the critic Duranty, the exponent of the aesthetics of naturalism. Yet in the particular direction of his tastes and his conception of design he was entirely individual. To study and convey movement was a chosen task, first undertaken on the race course and then in his many pictures of the Opera, viewed from behind the scenes, in the wings, or from the orchestra stalls during a performance.
-
Ballet Rehearsal on Stage (detail)
Unknown
Among the supreme masterpieces of the century are Degas's pictures of the ballet and its dancers. The impulse towards painting the contemporary scene came to him not only from Courbet and Manet but from his friend, the critic Duranty, the exponent of the aesthetics of naturalism. Yet in the particular direction of his tastes and his conception of design he was entirely individual. To study and convey movement was a chosen task, first undertaken on the race course and then in his many pictures of the Opera, viewed from behind the scenes, in the wings, or from the orchestra stalls during a performance.
