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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Still Life with Apples and Oranges Apples and Oranges
Unknown
The surface on which the elements of this still life are assembled appears somewhat ambiguous, concealed as it is by the white cloth; only one table leg can be seen at the right, whereas at the left the tabletop may be resting on the sofa whose wooden frame and green upholstery can be perceived below the round dish. The white pitcher with floral design barely detaches itself from the busy surface of the curtain at right, while the stark orange fruit form a sharp contrast to the white of the cloth and the bowl. The draperies on the top and the tablecloth at the bottom practically fill the entire space not occupied by the still-life objects proper.
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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
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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
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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.
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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.
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Orchestra of the Opera (detail) The Orchestra at the Opera House
Unknown
Both Edgar Degas and Henri Toulouse-Lautrec used the same bassoonist, D
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The Orchestra at the Opera The Orchestra at the Opera House
Unknown
Both Edgar Degas and Henri Toulouse-Lautrec used the same bassoonist, D
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Scene of War in the Middle Ages (detail)
Unknown
This painting was accepted for the Salon of 1865 but did not receive much attention. This focus on history painting is an indication of Degas' ambition as well as his adherence to the traditional means of winning official commendation and commissions by exhibiting at the Salon.
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Scene of War in the Middle Ages (detail)
Unknown
Degas' erotically charged women victims prefigure his bathers, refer to the brutality inflicted women in New Orleans (where all his maternal family lived) by Union troops in the Civil War.
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Scene of War in the Middle Ages (detail)
Unknown
This painting was accepted for the Salon of 1865 but did not receive much attention. This focus on history painting is an indication of Degas' ambition as well as his adherence to the traditional means of winning official commendation and commissions by exhibiting at the Salon.
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Self Portrait (detail)
Unknown
Edgar Degas was born into the family of bankers of aristocratic extraction. His mother died in 1847, so the boy's father, Auguste de Gas, and grandfather, Hilaire de Gas, were the most influential figures in his early life. Despite his own desire to paint he began to study law, but broke off his studies in 1853. He frequented F
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Race Horses Passing the Viewing Stands Race Horses
Unknown
After his return from America, Degas had closer contact with dealers such as Durand-Ruel, In 1874 Degas helped organize the 1st Impressionist exhibition. He always found the term
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Self Portrait
Unknown
Edgar Degas was born into the family of bankers of aristocratic extraction. His mother died in 1847, so the boy's father, Auguste de Gas, and grandfather, Hilaire de Gas, were the most influential figures in his early life. Despite his own desire to paint he began to study law, but broke off his studies in 1853. He frequented F
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Portrait of Therese de Gas, Duchess of Morbilli (detail)
Unknown
Degas came of the powerful upper bourgeoisie, his family having banking and business connections both in Italy and in the United States. His sister, Therese de Gas, married the Duke of Morbilli. He also painted a canvas of the couple.
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Race Horses Passing the Viewing Stands Race Horses
Unknown
After his return from America, Degas had closer contact with dealers such as Durand-Ruel, In 1874 Degas helped organize the 1st Impressionist exhibition. He always found the term
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Portrait of Therese de Gas, Duchess of Morbilli
Unknown
Degas came of the powerful upper bourgeoisie, his family having banking and business connections both in Italy and in the United States. His sister, Therese de Gas, married the Duke of Morbilli. He also painted a canvas of the couple.
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Portrait of the Bellelli Family (detail) The Bellelli Family
Unknown
In 1858 - 59, Degas spent several months in Italy with his aunt, the Baroness Bellelli. He made a number of sketches while in Italy, but this life-sized portrait was produced later. Two of the figures (the mother and standing girl) are carefully posed, apparently aware that someone is looking at them. The baron, with his back to the viewer, has just begun to realise that something is happening. Throughout his life, Degas would continue to work long hours in the studio to achieve this kind of apparent spontaneity. Degas never sold this painting, perhaps because it revealed too much about his aunt's unhappy marriage to the Baron. It remained in his studio until after his death.
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Portrait of the Bellelli Family (detail) The Bellelli Family
Unknown
In 1858 - 59, Degas spent several months in Italy with his aunt, the Baroness Bellelli. He made a number of sketches while in Italy, but this life-sized portrait was produced later. Two of the figures (the mother and standing girl) are carefully posed, apparently aware that someone is looking at them. The baron, with his back to the viewer, has just begun to realise that something is happening. Throughout his life, Degas would continue to work long hours in the studio to achieve this kind of apparent spontaneity. Degas never sold this painting, perhaps because it revealed too much about his aunt's unhappy marriage to the Baron. It remained in his studio until after his death.
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Portrait of the Bellelli Family (detail) The Bellelli Family
Unknown
It was at the invitation of Baron Gennaro Bellelli and his wife Laura, artist's aunt (an Italian aunt), that Degas went to Florence in August 1858. There he did numerous drawings of the family. He finally painted his group portrait of the Bellelli Family in his studio in Paris. Cousin Giulia is sitting, cousin Laura is standing with mother, Laura Bellelli, the baron is in an armchair, half-turned to the spectators.
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Portrait of the Bellelli Family (detail) The Bellelli Family
Unknown
It was at the invitation of Baron Gennaro Bellelli and his wife Laura, artist's aunt (an Italian aunt), that Degas went to Florence in August 1858. There he did numerous drawings of the family. He finally painted his group portrait of the Bellelli Family in his studio in Paris. Cousin Giulia is sitting, cousin Laura is standing with mother, Laura Bellelli, the baron is in an armchair, half-turned to the spectators.
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Portrait of the Bellelli Family The Bellelli Family
Unknown
It was at the invitation of Baron Gennaro Bellelli and his wife Laura, artist's aunt (an Italian aunt), that Degas went to Florence in August 1858. There he did numerous drawings of the family. He finally painted his group portrait of the Bellelli Family in his studio in Paris. Cousin Giulia is sitting, cousin Laura is standing with mother, Laura Bellelli, the baron is in an armchair, half-turned to the spectators.
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Portrait of Degas and Valernes Degas and Evariste de Valernes, Painter and a Friend of the Artist
Unknown
After his return from America, Degas had closer contact with dealers such as Durand-Ruel, in an attempt to bring his work to public attention independently of the Salon. In 1874 Degas helped organize the 1st Impressionist exhibition. He always found the term
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Portrait of Degas and Valernes (detail) Degas and Evariste de Valernes, Painter and a Friend of the Artist
Unknown
After his return from America, Degas had closer contact with dealers such as Durand-Ruel, in an attempt to bring his work to public attention independently of the Salon. In 1874 Degas helped organize the 1st Impressionist exhibition. He always found the term
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Landscape in Western Aix-en-Provence
Unknown
Cezanne drifted away from many of his Parisian contacts during the late 1870s and '80s and spent much of his time in his native Aix. This isolation and C
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Still Life with Pears
Unknown
At first glance, it's a simple arrangement of pears on a tabletop, but a second look shows us that the objects are not true to nature. What, for example, is the gauzy black mass to the right of the plate? Is that really drapery protruding stiffly beyond the table's edge? Indeed, C
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Madame Cross on the Terrace Portrait of Mrs. Henri Edmond Cross
Unknown
In 1891 he adopted, under the influence of his colleagues Seurat and Signac, the pointilist technique. He moved to the Midi, where landscapes inspired by the region of the Var became his preferred subject. By means of pure colour he was able to give free reign to his taste for lyricism and harmony.
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Madame Cross on the Terrace Portrait of Mrs. Henri Edmond Cross
Unknown
In 1891 he adopted, under the influence of his colleagues Seurat and Signac, the pointilist technique. He moved to the Midi, where landscapes inspired by the region of the Var became his preferred subject. By means of pure colour he was able to give free reign to his taste for lyricism and harmony.
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Madame Cross on the Terrace Portrait of Mrs. Henri Edmond Cross
Unknown
In 1891 he adopted, under the influence of his colleagues Seurat and Signac, the pointilist technique. He moved to the Midi, where landscapes inspired by the region of the Var became his preferred subject. By means of pure colour he was able to give free reign to his taste for lyricism and harmony.
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The Hermitage at Pontoise (detail)
Unknown
`Do not define too closely the outlines of things; it is the brushstroke of the right value and color which should produce the drawing'. A look at this painting shows how Pissarro made this his own practice. `Don't work bit by bit but paint everything at once by placing tones everywhere with brushstrokes of the right color and value...' This has an important bearing on the color harmony so splendidly carried out here. Color is not localized but is picked up like a melody in various parts of the canvas--the blue of the sky in the blue of doors and shadows, the red of the roofs in field and foreground earth--so that all comes into happy relation.
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The Hermitage at Pontoise
Unknown
`Do not define too closely the outlines of things; it is the brushstroke of the right value and color which should produce the drawing'. A look at this painting shows how Pissarro made this his own practice. `Don't work bit by bit but paint everything at once by placing tones everywhere with brushstrokes of the right color and value...' This has an important bearing on the color harmony so splendidly carried out here. Color is not localized but is picked up like a melody in various parts of the canvas--the blue of the sky in the blue of doors and shadows, the red of the roofs in field and foreground earth--so that all comes into happy relation.
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Townscape: the Blue Roofs, Rouen
Unknown
In 1883-84 the bank that employed him got into difficulties and Gauguin was able to paint every day. He settled for a while in Rouen, partly because Paris was too expensive for a man with five children, partly because he thought it would be full of wealthy patrons who might buy his works. Rouen proved a disappointment, and he joined his wife Mette and children, who had gone back to Denmark, where she had been born. His experience of Denmark was not a happy one and, having returned to Paris, he went to paint in Pont-Aven, a well-known resort for artists.
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Townscape: the Blue Roofs, Rouen Blue Roofs, Rouen
Unknown
Gaugin's desire to return to untouched natural surroundings first took him to look for the
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The Terrasse Family (detail)
Unknown
Bonnard employs a grey, sombre palette and a friezelike composition of figures in two horizontal registers. Represented in the painting is Bonnard
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The Terrasse Family (detail)
Unknown
Bonnard employs a grey, sombre palette and a friezelike composition of figures in two horizontal registers. Represented in the painting is Bonnard
