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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Landscape in Brittany Brittany Landscape
Unknown
Gaugins desire to return to untouched natural surroundings first took him to Brittany, looking for the
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Still Life with Statuette Still Life with Plaster Cupid
Unknown
Here we sense poles in the formal contrast of the apples and the statuette: the first, centered and without articulation; the Cupid, a body rich in convexities and turns. But the Cupid is white and the scattered fruit, red, yellow, and green. The two opposites are united, or at least bridged-more articulated forms.
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Landscape with Village
Unknown
Cezanne was a great painter of the immediate landscape of Provence around his home, often painting the view seen from his studio. The quality of this landscape - the light, the color of the earth, the roll of the hills affects the way the artist reacts to it. Many artists who work from landscape begin to identify with feelings that the physical area arouses. He was fascinated by color, shape and form. Cezanne's art aimed to be both representational image and invention, objective and subjective, a moment and all eternity, and all this in harmonious equilibrium.
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Landscape with Village
Unknown
Cezanne was a great painter of the immediate landscape of Provence around his home, often painting the view seen from his studio. The quality of this landscape - the light, the color of the earth, the roll of the hills affects the way the artist reacts to it. Many artists who work from landscape begin to identify with feelings that the physical area arouses. He was fascinated by color, shape and form. Cezanne's art aimed to be both representational image and invention, objective and subjective, a moment and all eternity, and all this in harmonious equilibrium.
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Rock Arch West of Etretat (The Manneport) The Manneporte (
Unknown
Monet spent most of February 1883 at
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Still Life with Apples and Primroses
Unknown
Claude Monet once owned this painting, a large and fine work that ranks with the best of C
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Still Life with Apples and Primroses
Unknown
Claude Monet once owned this painting, a large and fine work that ranks with the best of C
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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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After the Bath
Unknown
With Claude Monet, Pierre-Auguste Renoir helped found Impressionism, freeing painting from having to tell a story. Artists could simply capture what they saw. "The artist who uses the least of what is called imagination will be the greatest," he told his son Jean, whose importance as filmmaker equaled his father's as painter. The son of a tailor in Limoges, Renoir saved the money he earned from painting china, fans, and window shades to move to Paris. Gustave Courbet and the Old Masters in the Louvre were his first major influences. With Impressionism in the late 1860s, Renoir began using broken brushstrokes, his color became lighter, and he composed his canvases in patches of colored light.
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After the Bath
Unknown
With Claude Monet, Pierre-Auguste Renoir helped found Impressionism, freeing painting from having to tell a story. Artists could simply capture what they saw. "The artist who uses the least of what is called imagination will be the greatest," he told his son Jean, whose importance as filmmaker equaled his father's as painter. The son of a tailor in Limoges, Renoir saved the money he earned from painting china, fans, and window shades to move to Paris. Gustave Courbet and the Old Masters in the Louvre were his first major influences. With Impressionism in the late 1860s, Renoir began using broken brushstrokes, his color became lighter, and he composed his canvases in patches of colored light.
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Bather with Blond Hair
Unknown
Renoirs early works were typically Impressionist snapshots of real life, full of sparkling colour 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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L'Appel (The Call)
Unknown
There are many theories about the meaning of L'Appel. Some believe the call refers to the Christian idea of the call to follow the path to salvation. Or perhaps the beckoning figure is a temptress calling to her lover. A third theory suggests that the half-nude woman represents death calling to Gauguin himself. The couple in the foreground appear in several of Gauguin's paintings and sculptures, and he described them as two figures who are reflecting on their life experiences. The purple in the hood worn by one of them was a symbolic color for Gauguin and appears in many of his works. In Tahiti, purple referred to purpura, a disease in which the skin appears purple because of hemorrhaging beneath.
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Portrait of the Duchess Montejasi-Cicerale (detail) Stefanina Primicile Carafa, Marchioness of Cicerale and Duchess of Montejasi
Unknown
Although best remembered for his depictions of ballet dancers and race horses, Degas painted many likenesses of his family members. He probably painted this portrait of his aunt, Stefania Carafa (1819-1901), during an extended visit to Naples, where many of his relatives lived. Described in family papers as a highly indulged, fun-loving child, the dutchess grew into the stoic, world-weary woman depicted here. No expensive finery reveals her high social rank; indeed she wears a mourning dress, possibly to observe the recent death of her brother Achille.
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Portrait of the Duchess Montejasi-Cicerale Stefanina Primicile Carafa, Marchioness of Cicerale and Duchess of Montejasi
Unknown
Although best remembered for his depictions of ballet dancers and race horses, Degas painted many likenesses of his family members. He probably painted this portrait of his aunt, Stefania Carafa (1819-1901), during an extended visit to Naples, where many of his relatives lived. Described in family papers as a highly indulged, fun-loving child, the dutchess grew into the stoic, world-weary woman depicted here. No expensive finery reveals her high social rank; indeed she wears a mourning dress, possibly to observe the recent death of her brother Achille.
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Portrait of a Woman Dressed as Vestal Virgin A Lady as a Vestal Virgin
Unknown
Maria Anna Catharina Angelica Kauffmann is a painter in the early Neoclassical style best known for her decorative wall paintings for residences designed by Robert Adam. Her paintings are Rococo in tone and approach, though her figures are given Neoclassical poses and draperies. Kauffmann's portraits of female sitters are among her finest works..-- The Vestal Virgins were priestesses of the temple of Vesta (Greek Hestia), the Roman goddess of the fire that burns in the hearth. One of the Vestals' duties was to keep the altar fire in the temple burning perpetually. They were sworn to absolute chastity; breaking the vow was punished by burial alive.
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Portrait of a Woman Dressed as Vestal Virgin A Lady as a Vestal Virgin
Unknown
Maria Anna Catharina Angelica Kauffmann is a painter in the early Neoclassical style best known for her decorative wall paintings for residences designed by Robert Adam. Her paintings are Rococo in tone and approach, though her figures are given Neoclassical poses and draperies. Kauffmann's portraits of female sitters are among her finest works..-- The Vestal Virgins were priestesses of the temple of Vesta (Greek Hestia), the Roman goddess of the fire that burns in the hearth. One of the Vestals' duties was to keep the altar fire in the temple burning perpetually. They were sworn to absolute chastity; breaking the vow was punished by burial alive.
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Saturn devouring one of his sons
Unknown
This disturbing painting is one of the fourteen known as the "black paintings" with which Goya decorated the dining an living rooms of his home, called the "Quinta del Sordo", which he bought in 1819 on the banks of Madrid's Manzanares river. Seventy years after they were painted, the house's owner decided to have them taken down and transferred to canvas given their deteriorated condition. Saturn Devouring one of his Sons" was one of the six works decorating the dining room. It depicts a mythological theme- about the god Saturn or Cronos- acting as an allegorical representation of time. The god devoured, as time does to all that it creates, the children born to his wife Cibele: he feared that one would dethrone him.
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Saturn devouring one of his sons Quinta del Sordo
Unknown
This disturbing painting is one of the fourteen known as the "black paintings" with which Goya decorated the dining an living rooms of his home, called the "Quinta del Sordo", which he bought in 1819 on the banks of Madrid's Manzanares river. Seventy years after they were painted, the house's owner decided to have them taken down and transferred to canvas given their deteriorated condition. Saturn Devouring one of his Sons" was one of the six works decorating the dining room. It depicts a mythological theme- about the god Saturn or Cronos- acting as an allegorical representation of time. The god devoured, as time does to all that it creates, the children born to his wife Cibele: he feared that one would dethrone him.
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The Third of May: Execution of the Madrilenos The Third of May, 1808
Unknown
In 1814, when Ferdinand VII resumed the Spanish throne, Goya painted two pictures to commemorate Spanish resistance to French occupation. The first, entitled The Second of May, 1808, portrays the Spanish uprising against Napoleon's cavalry; the second, and more famous, Third of May, 1808 depicts the French reprisals. This painting condemns organized brutality in a way that stands alone in excellence. This scene of slaughter captures every detail of a group of gleeful hateful men destroying their fellow men. Nothing else in all of art equals the violence, the black terror of the moment, with those guns pointed at the group of unarmed victims. This is a difficult painting to look at for extended periods of time and may even cause nightmares.
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The Third of May: Execution of the Madrilenos The Third of May, 1808
Unknown
In 1814, when Ferdinand VII resumed the Spanish throne, Goya painted two pictures to commemorate Spanish resistance to French occupation. The first, entitled The Second of May, 1808, portrays the Spanish uprising against Napoleon's cavalry; the second, and more famous, Third of May, 1808 depicts the French reprisals. This painting condemns organized brutality in a way that stands alone in excellence. This scene of slaughter captures every detail of a group of gleeful hateful men destroying their fellow men. Nothing else in all of art equals the violence, the black terror of the moment, with those guns pointed at the group of unarmed victims. This is a difficult painting to look at for extended periods of time and may even cause nightmares.
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The Third of May: Execution of the Madrilenos The Third of May, 1808
Unknown
In 1814, when Ferdinand VII resumed the Spanish throne, Goya painted two pictures to commemorate Spanish resistance to French occupation. The first, entitled The Second of May, 1808, portrays the Spanish uprising against Napoleon's cavalry; the second, and more famous, Third of May, 1808 depicts the French reprisals. This painting condemns organized brutality in a way that stands alone in excellence. This scene of slaughter captures every detail of a group of gleeful hateful men destroying their fellow men. Nothing else in all of art equals the violence, the black terror of the moment, with those guns pointed at the group of unarmed victims. This is a difficult painting to look at for extended periods of time and may even cause nightmares.
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The Third of May: Execution of the Madrilenos The Third of May, 1808
Unknown
In 1814, when Ferdinand VII resumed the Spanish throne, Goya painted two pictures to commemorate Spanish resistance to French occupation. The first, entitled The Second of May, 1808, portrays the Spanish uprising against Napoleon's cavalry; the second, and more famous, Third of May, 1808 depicts the French reprisals. This painting condemns organized brutality in a way that stands alone in excellence. This scene of slaughter captures every detail of a group of gleeful hateful men destroying their fellow men. Nothing else in all of art equals the violence, the black terror of the moment, with those guns pointed at the group of unarmed victims. This is a difficult painting to look at for extended periods of time and may even cause nightmares.
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The Family of King Charles IV of Spain Charles IV and his Family
Unknown
This is one of the first official portraits, if not the first, that Goya executed on the occasion of the crowning of the new Spanish reigning couple. Charles IV (1748-1819) king of Spain 1788-1808, son and successor of Charles III. He was a weak monarch dominated by his wife Maria Luisa of Parma and her lover, Manuel de Godoy, whom he appointed Prime Minister in 1792. Under Charles
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The Family of King Charles IV of Spain (detail) Charles IV and his Family
Unknown
Charles IV (1748-1819) king of Spain 1788-1808, son and successor of Charles III.was a weak monarch dominated by his wife Maria Luisa of Parma and her lover, Manuel de Godoy, whom he appointed Prime Minister in 1792. Under Charles
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The Family of King Charles IV of Spain Charles IV and his Family
Unknown
This is one of the first official portraits, if not the first, that Goya executed on the occasion of the crowning of the new Spanish reigning couple. Charles IV (1748-1819) king of Spain 1788-1808, son and successor of Charles III. He was a weak monarch dominated by his wife Maria Luisa of Parma and her lover, Manuel de Godoy, whom he appointed Prime Minister in 1792. Under Charles
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The Family of King Charles IV of Spain Charles IV and his Family
Unknown
This is one of the first official portraits, if not the first, that Goya executed on the occasion of the crowning of the new Spanish reigning couple. Charles IV (1748-1819) king of Spain 1788-1808, son and successor of Charles III. He was a weak monarch dominated by his wife Maria Luisa of Parma and her lover, Manuel de Godoy, whom he appointed Prime Minister in 1792. Under Charles
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The Family of King Charles IV of Spain Charles IV and His Family
Unknown
This is one of the first official portraits, if not the first, that Goya executed on the occasion of the crowning of the new Spanish reigning couple. Charles IV (1748-1819) king of Spain 1788-1808, son and successor of Charles III. He was a weak monarch dominated by his wife Maria Luisa of Parma and her lover, Manuel de Godoy, whom he appointed Prime Minister in 1792. Under Charles
