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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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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Bretonian Seaside (detail)
Unknown
In 1874 he saw the first Impressionist exhibition, which completely entranced him and confirmed his desire to become a painter. He spent some 17,000 francs on works by Manet, Monet, Sisley, Pissarro, Renoir and Guillaumin. Pissarro took a special interest in his attempts at painting, emphasizing that he should `look for the nature that suits your temperament', and in 1876 Gauguin had a landscape in the style of Pissarro accepted at the Salon.
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Bretonian Seaside (detail)
Unknown
In 1874 he saw the first Impressionist exhibition, which completely entranced him and confirmed his desire to become a painter. He spent some 17,000 francs on works by Manet, Monet, Sisley, Pissarro, Renoir and Guillaumin. Pissarro took a special interest in his attempts at painting, emphasizing that he should `look for the nature that suits your temperament', and in 1876 Gauguin had a landscape in the style of Pissarro accepted at the Salon.
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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 color more comprehensively and in more variety. In The Bridge at Argenteuil the equivalence is complete, the glow of light produced by pure and unmixed color pervades the canvas and surrounds the forms appearing in it. The interplay between the short strokes indicative of ripples and the larger areas of color is made with a typical flexibility of skill.
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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 Arles (detail) The Langlois Bridge at Arles / Drawbridge with Lady with Parasol
Unknown
This is among Vincent van Gogh's most popular paintings. Vincent painted this in Arles in May 1888, three months after leaving Paris where he had painted more than 200 pictures. He had moved to Arles because he was attracted by the bright light of southern France and the warmth of the colors. At the time of this painting he was already living in the right wing of his famous "The Yellow House" which he painted in September.
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Bridge at Arles The Langlois Bridge at Arles / Drawbridge with Lady with Parasol
Unknown
Many consider Van Gogh's Arles period to be the most creative of his career. Indeed, many of Van Gogh's best known works were produced during his time in this proven
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Bundle of Asparagus
Unknown
Manet painted still lives throughout his career but often limited himself to representing one vegetable or fruit. Manet
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Bust of Cosimo I d'Medici, above door to Opera del Duomo Museum, Florence
Unknown
Detail from front left
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Capitoline Museum
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View north across the square to Capitoline Museum, with statue of Marcus Aurelius
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Capitoline Museum
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Detail: Façade of Capitoline Museum, with colossal Corinthian order, aediculae, and minor Ionic order
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Capitoline Museum
Unknown
Close det: rich sculptural patterns of Capitoline Museum, with Marcus Aurelius, view Nnorthwest
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Capitoline Museum
Unknown
General view northwest over the square, with Pal. Of Conservators, pavement design, Capitoline Museum and fountain
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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.
