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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Basilica of Mary Magdalen (La Madeleine)
Unknown
Exterior: Romanesque Tympanum of the central doorway
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Basilica of Mary Magdalen (La Madeleine)
Unknown
Exterior: General view of the Narthex with Tympanum of central doorway inside Narthex
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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
Renoirs early works were typically Impressionist snapshots of real life, full of sparkling color 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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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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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
Close-up of Alexander on horse
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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 Persian soldier
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Battle between Gods and Giants, Left Detail of Giant
Unknown
Close detail of Apollo and Artemis grabbing a giant
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Battle between Gods and Giants, Lion Detail, A
Unknown
Detail of chariot drawn by attacking lion, on the left are Dionysus and Themis
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Battle between Gods and Giants, Right
Unknown
General view of the right side of frieze, fighting with spears, shields
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Battle between Gods and Giants, Right Detail of Ares, Astarias & Biatas
Unknown
Detail of Ares, Astarias, and Biatas with shields standing over their fallen enemy
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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 Innkeeper 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
Cloister: southwest corner pillar, view northeast
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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: view northeast across to the N & E aisles
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
W wall of porch: Punishment of Avarice
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Cloister: capitals of the W aisle, view northeast
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Cloister: columns of the W aisle, view northeast
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Cloister: columns of W aisle, view Ssouthwest
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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
Abbey Church, S Flank; porch and portal of the narthex
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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 south-southeast
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Benedictine Abbey and Cloister of St. Pierre at Moissac
Unknown
Cloister: columns of S aisle, view east-southeast
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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
E wall of porch: Adoration of the Magi
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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
W wall of porch: Punishment of Female Unchastity
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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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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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Boy of the Bretagne
Unknown
Gauguin evolved towards an increasingly personal treatment of form and color, 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.
