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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The Terrasse Family
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 Bathers (Men Bathing)
Unknown
Although Cezanne used the Impressionist techniques, he emphasized the underlying structure of the objects he painted rather than the objective vision presented by the light that emanated from them, which was the main concern of the Impressionists. Already he was composing with cubic masses and architectonic lines; his strokes, unlike those of the Impressionists, were not strewn with colour, but they complemented each other in a chromatic unity. The intelligence and the eye of the painter were able to strip away that which was diffuse and superimposed in the view of a given mass, in order to analyze its constituent elements.
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Still Life with Tea Kettle and White Cloth
Unknown
Ultimately Cezanne abandoned his early style, along with Impressionism, in favor of an increasingly abstract interpretation. He believed art should be "a harmony which runs parallel with nature." Cezanne sought to reduce nature to three shapes: the cylinder, cone and sphere, rendering these shapes in skillfully modeled patches of color.
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Still Life with Tea Kettle and White Cloth
Unknown
Ultimately Cezanne abandoned his early style, along with Impressionism, in favor of an increasingly abstract interpretation. He believed art should be "a harmony which runs parallel with nature." Cezanne sought to reduce nature to three shapes: the cylinder, cone and sphere, rendering these shapes in skillfully modeled patches of color.
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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 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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Portrait of M. and Mme. Bernheim de Villers A Couple: M. and Mme. Bernheim of Villers
Unknown
Jewish collectors were the most open to the "new painting,"of the Impressionists, one of those is contained in this portrait, Gaston Bernheim de Villers. This painting from 1910 shows how Renoir had broken with the much of the movement to apply a more disciplined, formal technique to portraits and figure paintings.
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Portrait of M. and Mme. Bernheim de Villers A Couple: M. and Mme. Bernheim of Villers
Unknown
Jewish collectors were the most open to the "new painting,"of the Impressionists, one of those is contained in this portrait, Gaston Bernheim de Villers. This painting from 1910 shows how Renoir had broken with the much of the movement to apply a more disciplined, formal technique to portraits and figure paintings.
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The Schuffenecker Family (detail)
Unknown
Claude Emile Schuffenecker (1851-1934) was a colleague of Gauguin
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The White Horse (detail)
Unknown
Gauguin does not primarily suggest a local connectionto Tahiti but rather a final outcome of the sense of newly tapped powers in color and new sensations to be derived from it that had been the preoccupation of a whole half-century. The seed of Impressionism, it might be said, expanded here into a marvellous exotic bloom. The color, however, is no longer descriptive or atmospheric but makes an impact on the senses akin to that of music. The white horse itself suggests some creature of heroic fable, yet while it shares this appearance of belonging to an imaginary world with the riders in the background, the picture had its basis in Polynesian reality. The inhabitants used horses as a means of transport in the absence of roads and bridges.
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The White Horse
Unknown
Gauguin does not primarily suggest a local connectionto Tahiti but rather a final outcome of the sense of newly tapped powers in color and new sensations to be derived from it that had been the preoccupation of a whole half-century. The seed of Impressionism, it might be said, expanded here into a marvellous exotic bloom. The color, however, is no longer descriptive or atmospheric but makes an impact on the senses akin to that of music. The white horse itself suggests some creature of heroic fable, yet while it shares this appearance of belonging to an imaginary world with the riders in the background, the picture had its basis in Polynesian reality. The inhabitants used horses as a means of transport in the absence of roads and bridges.
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Tahitian Women at the Beach (detail)
Unknown
Gauguin's art has all the appearance of a flight from civilization, of a search for new ways of life, more primitive, more real and more sincere. His break away from a solid middle-class world, abandoning family, children and job, his refusal to accept easy glory and easy gain are the best-known aspects of Gauguin's fascinating life and personality. This picture, also known as Two women on the beach, was painted in 1891, shortly after Gauguin's arrival in Tahiti. During his first stay there (he was to leave in 1893, only to return in 1895 and remain until his death), Gauguin discovered primitive art, with its flat forms and the violent colors belonging to an untamed nature.
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Tahitian Women (On the Beach) (detail
Unknown
Gauguin's art has all the appearance of a flight from civilisation, of a search for new ways of life, more primitive, more real and more sincere. His break away from a solid middle-class world, abandoning family, children and job, his refusal to accept easy glory and easy gain are the best-known aspects of Gauguin's fascinating life and personality. This picture, also known as Two women on the beach, was painted in 1891, shortly after Gauguin's arrival in Tahiti. During his first stay there (he was to leave in 1893, only to return in 1895 and remain until his death), Gauguin discovered primitive art, with its flat forms and the violent colors belonging to an untamed nature.
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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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Tahitian Women at the Beach
Unknown
Gauguin's art has all the appearance of a flight from civilization, of a search for new ways of life, more primitive, more real and more sincere. His break away from a solid middle-class world, abandoning family, children and job, his refusal to accept easy glory and easy gain are the best-known aspects of Gauguin's fascinating life and personality. This picture, also known as Two women on the beach, was painted in 1891, shortly after Gauguin's arrival in Tahiti. During his first stay there (he was to leave in 1893, only to return in 1895 and remain until his death), Gauguin discovered primitive art, with its flat forms and the violent colors belonging to an untamed nature.
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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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Motherhood at the Window (detail)
Unknown
Maurice Denis had nine children with his two successive wives. His life was the exaltation of the Christian family. From the birth of his first child in 1894, he does not cease painting motherhood.. These works testify to the roots of his happiness in Brittany where it spendshis holidays. The members of his family are for the painter the actors of scenes religious or mythological which he translates.
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Homage to Cezanne
Unknown
This groupe portrait by Maurice Denis is actually the portrait of a group of friends who made up the original members of the Nabis. (From left to right they are: Redon, Vuillard, Mellerio, Vollard, Denis, S
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Homage to Cezanne
Unknown
This groupe portrait by Maurice Denis is actually the portrait of a group of friends who made up the original members of the Nabis. (From left to right they are: Redon, Vuillard, Mellerio, Vollard, Denis, S
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Homage to Cezanne (detail)
Unknown
This groupe portrait by Maurice Denis is actually the portrait of a group of friends who made up the original members of the Nabis. (From left to right they are: Redon, Vuillard, Mellerio, Vollard, Denis, S
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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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Dieppe, Bassin Duquesne
Unknown
Pissarro's impressionism has much of the sobriety of Sisley's but less reflective. he was the oldest member of the group, being two years older even than Edouard Manet. Everyone who knew Pissarro seems to have left some account of him, and by all these accounts his life and his character were a catalog of virtues - loyalty to his friends, wisdom as the father of a large family, courage in adversity, and patience, tolerance, honesty, and industry in all circumstances.
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Dieppe, Bassin Duquesne
Unknown
Pissarro was the only Impressionist painter who participated in all eight of the group's exhibitions. His kindness, warmth, wisdom, and encouraging words cast him in a fatherly role to struggling younger artists
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Absinthe
Unknown
Degas evidently retained in memory a moment when his sitters were in pensive mood. He did not seek to flatter them or make a `pretty picture' (an idea he regarded with horror). On the other hand nothing could have been farther from his thoughts than to depict these familiar acquaintances as monsters of dissipation and degradation in order to draw a moral lesson. It might be observed, incidentally, that Desboutin was drinking nothing stronger than black coffee! In England, however, the persons represented were considered to be shockingly degraded an by an involved piece of reasoning the picture itself was regarded as a blow to morality.
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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...
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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...
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Dancing at the Moulin de la Galette (detail)
Unknown
At the foreground table at the right are the artist's friends, Frank Lamy, Norbert Goeneutte and Georges Rivi
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Dancing at the Moulin de la Galette (detail)
Unknown
Moulin de la Galette near the top of Montmartre was a characteristic place of entertainment, and his picture of the Sunday afternoon dance in its acacia-shaded courtyard is one of his happiest compositions. In still-rural Montmartre, the Moulin, called `de la Galette' from the pancake which was its speciality, had a local client
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Dancing at the Moulin de la Galette (detail)
Unknown
The girl in the striped dress in the middle foreground (as charming of any of Watteau's court ladies) was said to be Estelle, the sister of Renoir's model, Jeanne. Another of Renoir's models, Margot, is seen to the left dancing with the Cuban painter, Cardenas.
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Dancing at the Moulin de la Galette
Unknown
Renoir delighted in `the people's Paris', of which the Moulin de la Galette near the top of Montmartre was a characteristic place of entertainment, and his picture of the Sunday afternoon dance in its acacia-shaded courtyard is one of his happiest compositions. In still-rural Montmartre, the Moulin, called `de la Galette' from the pancake which was its speciality, had a local client
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Still Life with Fruit Basket
Unknown
The dynamic effect created by a complex spatial construction and C
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Still Life with Fruit Basket Still Life With a Basket (Kitchen Table)
Unknown
Cezanne does not draw his picture before painting it: instead, he creates space and depth of perspective by means of planes of color, which are freely associated and at the same time contrasted and compared. The facets which are thus produced create not just one but many perspectives, and in this way volume comes once again to dominate the composition, no longer a product of the line but rather of the color itself. His still-lifes, in their simplicity and delicate tonal harmony, are a typical work and thus ideal for an understanding of C
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L'Estaque, Gulf of Marseille L'Estaque
Unknown
The painting lives through the power of great contrasts: the luminous, richly broken field of oranges, and greens against the blue sea; the modeled wavy mountains, convex, against the filmy, substanceless sky. The broad strata of the landscape are interlocked pairs, forming larger rectangular zones which become more cohesive still through the horizontals in the diagonal fields and the sloping forms in the horizontal. An ever-active touch, responding to the lie or swerve or rise of objects, unites this extended world from point to point. Nothing is perfectly still; the dark water has its pulsations and nuanced mood, and the pure sky, a delicate quivering of ethereal tones.
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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.
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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.
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The Cliff
Unknown
The monumentality of the famous cliffs at the coastal resort of Etretat in Normandy is not typical of most of Monet's other subjects. He usually chose a quiet corner of a meadow or stretch of river for his landscapes. The Etretat painting does, however, serve as a typical example of the Impressionist style. There is an emphasis on atmospheric conditions and the effects of light as the day progresses. Colors are vibrant and applied to the canvas in separated brushstrokes that create the illusion of motion in the water. Close examination of the setting sun reveals Monet's technique of applying one color of paint over another while still wet, achieving a partial mixture of colors but not a blending.
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The Impressario (Pierre Ducarre) The Impresario
Unknown
Degas' father was a prominent banker. His father and grandfather signed their names *De Gas*, as did the artist until ca. 1870. . The Bellelli Family (Paris, Musee d'Orsay). In Paris in 1874, he helped organize the first impressionist exhibition and contributed to all but one of the subsequent group shows, although his many paintings of the ballet and opera, cafe scenes, horse races, and other aspects of metropolitan life are distinct in style and subject matter from the work of his impressionist colleagues. About 1892 Degas began to work primarily in pastels. Plagued by ill health and near blindness after about 1900, his style became increasingly broad, and by 1910 he had ceased working.
