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.
-
Bust of Cosimo I de'Medici, above door to Opera del Duomo Museum, Florence
Unknown
Detail from front left
-
Café Wepler
Unknown
Although the composition seems rather casual, the artist carefully organized it with curving patterns. For instance, the shape of the huge arches at the back of the room is subtly repeated in the backs of the chairs. Vuillard also used color and light to visually unite the scene. Thus the walls, tables and even the people seem to dissolve into patches of white-tinted color and flickering light. Vuillard was preoccupied with this canvas over the course of several years. He probably began the painting in 1908 after he moved to an apartment near the café.
-
Calling of St. Matthew
Unknown
Terbrugghen was the most important member of the Dutch Utrecht school. He spent ten years in Italy as a young man and he probably met there Caravaggio who exerted a great influence on him. His extant works were executed in Utrecht after returning from Italy. Sometimes he repeated the subjects of Caravaggio, like in the Calling of St. Matthew. Terbrugghen's debt to Caravaggio is seen most clearly in the manner of illumination. The light enters in a broad beam, and as usual in Terbrugghen's work, from the left. However, the quality of the light is original; it is lighter, richer, and more atmospheric than Caravaggio's, which seldom has the brightness or softness of real daylight.
-
Calling of St. Matthew (detail)
Unknown
The life-size figures are half-length instead of full-length, and where the drama of Christ calling the tax-collector to his vocation echoes in the shadows above the figures, has been eliminated. Christ and his follower appear to the left as dark figures in the foreground. The main accent is on the brightly illuminated group on the right. Terbrugghen's original talent and old Netherlandish realism successfully merge here with Caravaggesque motifs and elements. The mercenary soldier pointing to the money on the table shows a profile which marks him as a descendant of types popularized by early sixteenth century Flemish artists, and the six gesticulating hands in the centre are also a survival of an older tradition.
-
Calling of St. Matthew (detail)
Unknown
Terbrugghen was the most important member of the Dutch Utrecht school. He spent ten years in Italy as a young man and he probably met there Caravaggio who exerted a great influence on him. His extant works were executed in Utrecht after returning from Italy. Sometimes he repeated the subjects of Caravaggio, like in the Calling of St. Matthew.
-
Calling of St. Matthew (detail)
Unknown
Terbrugghen's original talent and old Netherlandish realism successfully merge here with Caravaggesque motifs and elements. The mercenary soldier pointing to the money on the table shows a profile which marks him as a descendant of types popularized by early sixteenth century Flemish artists, and the six gesticulating hands in the centre are also a survival of an older tradition.
-
Calumny of Apelles (detail)
Unknown
Calumny, preceded by Jealousy, drags an innocent man to the judgment throne of Midas; Suspicion and Deceit whisper in Midas's ear, while Remorse gazes downcast at naked Truth. How distant these impassioned mortals are from Botticelli's legendary gods basking in the sun.
-
Calumny of Apelles (detail)
Unknown
This famous masterwork represents the Appelle's Calumny, the ancient painting by Appelles described by Lucian of Samosata in one of his Dialogues. It included ten figures: on the right King Mida, the bad Judge, is enthroned between Suspicion and Ignorance; before him Spite (or Envy) is leading a young woman (Calumny) adorned by Deceit and Duplicity, while she drags naked Innocence along. On the left Penitence an Thruth. On the background marble arcades with sculptures and bas reliefs underline the study of antique by Botticelli.
-
Calumny of Apelles (detail)
Unknown
Remorse gazes downcast at naked Truth. How distant these impassioned mortals are from Botticelli's legendary gods basking in the sun. His imagination became darker and more anguished in some later works, as we can see from his allegory of the Calumny of Apelles.
-
Capitoline Museum
Unknown
View N across the square to Capitoline Museum, with statue of Marcus Aurelius
-
Capitoline Museum
Unknown
Detail: Fatade of Capitoline Museum, with colossal Corinthian order, aediculae, and minor Ionic order
-
Capitoline Museum
Unknown
Close det: rich sculptural patterns of Capitoline Museum, with Marcus Aurelius, view NNW
-
Capitoline Museum
Unknown
General view NW over the square, with Pal. Of Conservators, pavement design, Capitoline Museum and fountain
-
Caravans. Gypsy Encampment
Unknown
In his thirty-seven years, Vincent van Gogh practically created the archetype of the artist as unknown, tortured, starving genius. Now almost as well known for his persona of mad anguish (best typified in the infamous ear-mutilation incident of 1888) as for his paintings, the anonymity in which he lived his life ironically underscores the radical nature of his work within an historical context. He profoundly influenced the Expressionist and Fauvists (along with the majority of 20th century art) through his bold use of color, distorted perspective, coarse brushwork, and emotionally explosive style.
-
Caravans. Gypsy Encampment (detail) Encampment of Gypsies with Caravans
Unknown
In his thirty-seven years, Vincent van Gogh practically created the archetype of the artist as unknown, tortured, starving genius. Now almost as well known for his persona of mad anguish (best typified in the infamous ear-mutilation incident of 1888) as for his paintings, the anonymity in which he lived his life ironically underscores the radical nature of his work within an historical context. He profoundly influenced the Expressionist and Fauvists (along with the majority of 20th century art) through his bold use of color, distorted perspective, coarse brushwork, and emotionally explosive style.
