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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Ceramic Tondi at Loggia of Foundling Hospital. Florence (left one by ROBBIA, right one is 19th c. addition)
Unknown
Front center, both tondi
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ChGteau de Blois
Unknown
Wing of Francois I (1515-24), courtyard fatade, with spiral staircase tower, from S
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Chimera of Arezzo. Mythical creature with lion's body and three heads (lion, goat, serpent)
Unknown
Total from front
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Chimera of Arezzo. Mythical creature with lion's body and three heads (lion, goat, serpent)
Unknown
Total from right front (frontal view of head)
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Christ and the Adulteress Christ and the Woman Taken in Adultery
Unknown
Painted of the adulteress at the moment when Christ writes the letters in the dirt with his hand, and the Scribes and Pharisees depart, or, concealing themselves among the columns of a portico that is represented with the most rare perspectival skill; and it is a picture filled with much erudition. The pictorial erudition that so struck Ridolfi is demonstrated in the perspective structure, yet Tintoretto did not achieve this effortlessly: x-rays have revealed errors and redrawings in the lines of the architecture, above all in the patterning of the pavement. There is a strong centrifugal movement to the scene, and its quality of space extended by light seems to prefigure the artist's trilogy of paintings of the life of St Mark.
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Christ and the Adulteress (detail) Christ and the Woman Taken in Adultery
Unknown
Painted of the adulteress at the moment when Our Lord writes the letters in the dirt with his hand, and the Scribes and Pharisees depart, one after the other, concealing themselves among the columns of a portico that is represented with the most rare perspectival skill; and it is a picture filled with much erudition. The pictorial erudition that so struck Ridolfi is demonstrated in the perspective structure, yet Tintoretto did not achieve this effortlessly: x-rays have revealed errors and redrawings in the lines of the architecture, above all in the patterning of the pavement.
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Christ Crowned with Thorns (detail)
Unknown
Here Titian aims at balancing the agitated gestures of the executioners with the patient immobility of Christ accepting the sacrifice.
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Christ on the Cross with Virgin and St. John and Sts. Nicholas, Bartholomew, Florentius and Luke
Unknown
Saints Nicholas and Bartholomew
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Christ on the Cross with Virgin and St. John and Sts. Nicholas, Bartholomew, Florentius and Luke
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Saints Florentius and Luke
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Christ on the Cross with Virgin and St. John and Sts. Nicholas, Bartholomew, Florentius and Luke
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Saint John the Evangelist
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Christ Walking on Water (detail) The Miraculous Draught of Fishes
Unknown
Witz was a Swiss painter. His only signed and dated work is the Saint Peter Altarpiece of which only four panels (the wings) survived. One of them, the Miraculous Draught presents a true landscape with view of the Lake of Geneva.
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Christ Walking on Water (detail) The Miraculous Draught of Fishes
Unknown
Witz was a Swiss painter. His only signed and dated work is the Saint Peter Altarpiece of which only four panels (the wings) survived. One of them, the Miraculous Draught presents a true landscape with view of the Lake of Geneva.
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Christ Walking on Water (detail) The Miraculous Draught of Fishes
Unknown
Witz was a Swiss painter. His only signed and dated work is the Saint Peter Altarpiece of which only four panels (the wings) survived. One of them, the Miraculous Draught presents a true landscape with view of the Lake of Geneva.
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Christ Walking on Water (detail) The Miraculous Draught of Fishes
Unknown
Witz was a Swiss painter. His only signed and dated work is the Saint Peter Altarpiece of which only four panels (the wings) survived. One of them, the Miraculous Draught presents a true landscape with view of the Lake of Geneva.
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Church at Auvers-sur-Oise
Unknown
This is the only painting representing in full the church in Auvers that may sometimes be distinguished in the background of views of the whole village. This church, built in the 13th century in the early Gothic style, flanked by two Romanesque chapels, became under the painter's brush a flamboyant monument on the verge of dislocating itself from the ground and from the two paths that seem to be clasping it like torrents of lava or mud. If one compares this painting with Claude Monet's paintings of the cathedral in Rouen, painted shortly afterwards, one can measure how different Van Gogh's approach was from that of the impressionists. Unlike Monet, he did not try to render the impression of the play of light on the monument.
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Church at Auvers-sur-Oise (detail)
Unknown
Inspired by the little grey church in Auvers-sur-Oise, he immortalised it in rapturous colour, describing his canvas in a letter to his brother, Theo : "The building appears almost dark purple against a deep blue sky of pure cobalt, and the stained glass windows are ultramarine smudges. The roof is violet, touched with orange, and in front there's a grassy bank covered in flowers, surrounded by sandy soil bathed pink with sunlight."
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Church at Auvers-sur-Oise (detail)
Unknown
Van Gogh's bouts with insanity made him unfit for the ministry, so he found another way of service - his art. He combines the irreconcilable, with emotion and expression, punctuated by bold brush strokes - violet, cobalt, orange - with skies almost carved from the paint. The church has no doors, no way in, yet is lit from within by intense mystical warmth and love. This was one of Van Gogh's final paintings, for he died by his own hand two months later.
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Church of La Madeleine (compl. 1842 by Jacques HuvT) (1998)
Unknown
Close detail: entablature and column capital at SE corner
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Church of La Madeleine (compl. 1842 by Jacques HuvT) (1998)
Unknown
Fatade detail with pediment sculpture and entablature
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Church of La Madeleine (compl. 1842 by Jacques HuvT) (1998)
Unknown
Raking view of South colonnade and stairs
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Church of San Girolamo del Rialto
Unknown
Canaletto. took as his specialty the relatively new and rare form of painting, the city view (veduta). His principal patrons were English aristocrats on the Grand Tour, for whom his scenes were souvenirs of the sights of Venice-the Grand Canal, the basin of Saint Mark's, plus innumerable scenes of regattas and water festivals, such as the annual celebration of the Marriage of Venice to the Sea. Canaletto's technique had the traditional Venetian hallmarks of luminous light and glowing color, to which he added a Dutch-influenced attention to clear and accurate detail. His early works often feature dark, saturated colors that depict a moist, palpable atmosphere under a stormy or dark sky.
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Church of San Vitale
Unknown
Baroque Portal to the S. Vitale complex, 1622, Pope Gregory XV. "Divo Vitalima Tire", general view fr S
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Church of S. Ivo della Sapienza
Unknown
View of S. Ivo, seen from courtyard of the Sapienza (della Porta) (1999)
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Column of Trajan and remains of Basilica Ulpia in the Forum of Trajan
Unknown
View towards Basilica, with columns in foreground and Column of Trajan
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Column of Trajan. Restored 1990s
Unknown
Band 5, Roman galleys; band 6, recovering the wounded, from SSW
