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 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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Pauline Bonaparte-Borghese as Venus
Unknown
Total figure from left center (showing curved back, drapery)
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Cottages at Chaponval. Auvers-sur-Oise (detail) Thatched Sandstone Cottages in Chaponval
Unknown
The works Vincent produced in Auvers would be among his best loved (Thatched Cottages at Cordeville, for example), but in the end they would pose more questions than they would answer. Was Van Gogh's style moving in yet another direction? Vincent learned a great deal during his years in the south of France--and at a tremendous cost. How would he apply this knowledge as he moved forward and sought some inner peace? Vincent committed suicide in July, 1890. He was at the height of his genius.
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Thatch at Montcel
Unknown
In Auvers-sur-Oise, back in a village community such as he had not known since Nuenen, four years earlier, van Gogh worked at first enthusiastically; his choice of subjects such as fields of corn, the river valley, peasants' cottages, the church, and the town hall reflects his spiritual relief. A modification of his style followed: the natural forms in his paintings became less contorted, and in the northern light he adopted cooler, fresh tonalities. His brushwork became broader and more expressive and his vision of nature more lyrical. Everything in these pictures seems to be moving, living.
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Self Portrait
Unknown
Impressionism as the objective study of light did not encourage so essentially a subjective study as the self-portrait but in the later expansion of the movement this self-representation was given renewed force by C
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Self Portrait (detail)
Unknown
Impressionism as the objective study of light did not encourage so essentially a subjective study as the self-portrait but in the later expansion of the movement this self-representation was given renewed force by C
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Italian Woman (Agostina Segatori? )
Unknown
The woman depicted is probably Agostina Segatori, the owner of this caf
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Italian Woman (Agostina Segatori? )
Unknown
The woman depicted is probably Agostina Segatori, the owner of this caf
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La Guinguette Terrace of a Cafe on Montmartre (La Guinguette)
Unknown
"And my aim in my life is to make pictures and drawings, as many and as well as I can; then, at the end of my life, I hope to pass away, looking back with love and tender regret, and thinking, 'Oh, the pictures I might have made!'" Vincent van Gogh, Letter 338,19 November 1883.
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La Guinguette (detail) Terrace of a Cafe on Montmartre (La Guinguette)
Unknown
"And my aim in my life is to make pictures and drawings, as many and as well as I can; then, at the end of my life, I hope to pass away, looking back with love and tender regret, and thinking, 'Oh, the pictures I might have made!'" Vincent van Gogh, Letter 338,19 November 1883.
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Restaurant 'La Sirene' in Asmiere
Unknown
Together with Bernard, Gauguin and Toulouse-Lautrec, he exhibited his works; they also decorated the walls with Japanese colored woodcuts. They called themselves
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Thatch at Montcel Thatches of Cordeville with Auvers-on-Oise
Unknown
Van Gogh strove to respect the external, visual aspect of a figure or landscape but found himself unable to suppress his own feelings about the subject, which found expression in emphatic contours and heightened effects of colour. Once hesitant to diverge from the traditional techniques of painting he worked so hard to master, he now gave free rein to his individuality and began squeezing his tubes of oil paint directly on the canvas. Van Gogh's style was spontaneous and instinctive, for he worked with great speed and intensity, determined to capture an effect or a mood while it possessed him.
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Cottages with Thatched Roofs. Auvers-sur-Oise (detail) Thatched Cottages at Cordeville
Unknown
His work, all of it produced during a period of only 10 years, hauntingly conveys through its striking colour, coarse brushwork, and contoured forms the anguish of a mental illness that eventually resulted in suicide.
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Thatch at Montcel Thatches of Cordeville with Auvers-on-Oise
Unknown
In Auvers-sur-Oise, back in a village community such as he had not known since Nuenen, four years earlier, van Gogh worked at first enthusiastically; his choice of subjects such as fields of corn, the river valley, peasants' cottages, the church, and the town hall reflects his spiritual relief. A modification of his style followed: the natural forms in his paintings became less contorted, and in the northern light he adopted cooler, fresh tonalities. His brushwork became broader and more expressive and his vision of nature more lyrical. Everything in these pictures seems to be moving, living.
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Portrait: Dr. Paul Gachet, the Doctor (detail) Portrait of Doctor Gachet
Unknown
The Portrait of Doctor Gachet is one of Van Gogh's most famous paintings. It's notable for a number of reasons. It was painted in the last few months of Vincent's life and the subject has been the focus of a great deal of controversy. How competent was Doctor Gachet? What did Vincent mean when he wrote to Theo "First of all, he is sicker than I am, I think, or shall we say just as much"
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Portrait: Dr. Paul Gachet, the Doctor Portrait of Doctor Gachet
Unknown
The Portrait of Doctor Gachet is one of Van Gogh's most famous paintings. It's notable for a number of reasons. It was painted in the last few months of Vincent's life and the subject has been the focus of a great deal of controversy. How competent was Doctor Gachet? What did Vincent mean when he wrote to Theo "First of all, he is sicker than I am, I think, or shall we say just as much"
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The Belgian Painter Eugene Bloch (1855-1941)(detail) Portrait of Eugene Boch
Unknown
He wrote beautiful letters. Tracing his intellectual sources, we found things we didn't know before," researcher Leo Jansen said. "We can see the complete scope of his visual input." In one case, the researchers deciphered a note from van Gogh to Paul Gauguin that had been scribbled and then erased on the back of a sketch that the Dutchman sent to a friend, Eugene Boch. The note told Gauguin that, like a diamond from deep in the earth, art comes from deep within the artist, and urged Gauguin, "not to lower our prices," said Jansen.
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The Artist's Room at Arles (detail) The Bedroom at Arles
Unknown
Some of the citizens of Arles had become alarmed by Vincent's behaviour and signed a petition detailing their concerns. The petition was submitted to the mayor of Arles and eventually to the superintendent of police who ordered Van Gogh readmitted to the H
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The Belgian Painter Eugene Bloch (1855-1941) Portrait of Eugene Boch
Unknown
He wrote beautiful letters. Tracing his intellectual sources, we found things we didn't know before," researcher Leo Jansen said. "We can see the complete scope of his visual input." In one case, the researchers deciphered a note from van Gogh to Paul Gauguin that had been scribbled and then erased on the back of a sketch that the Dutchman sent to a friend, Eugene Boch. The note told Gauguin that, like a diamond from deep in the earth, art comes from deep within the artist, and urged Gauguin, "not to lower our prices," said Jansen.
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The Artist's Room at Arles (detail) Van Gogh's Bedroom in Arles. Saint-R
Unknown
Vincent's Bedroom in Arles is one of the artist's best known paintings. The striking colours, unusual perspective and familiar subject matter create a work that is not only among Van Gogh's most popular, but also one that he himself held as one of his own personal favourites. As Van Gogh described in a letter to his brother, "My eyes are still tired by then I had a new idea in my head and here is the sketch of it. Another size 30 canvas. This time it's just simply my bedroom, only here colour is to do everything, and giving by its simplification a grander style to things, is to be suggestive here of rest or of sleep in general. In a word, looking at the picture ought to rest the brain, or rather the imagination. "
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L'Arlesienne (Mme. Ginoux). (detail) L'Arl
Unknown
While in Arles, Van Gogh painted two very similar portraits of Madame Ginoux, the proprietress of the Caf
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The Artist's Room at Arles The Bedroom at Arles
Unknown
Some of the citizens of Arles had become alarmed by Vincent's behaviour and signed a petition detailing their concerns. The petition was submitted to the mayor of Arles and eventually to the superintendent of police who ordered Van Gogh readmitted to the H
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Interior of Men's Hospital at Arles (detail) Ward in the Hospital in Arles
Unknown
After recurrent attacks of his illness, Van Gogh decided to admit himself to a mental health clinic in Saint-R
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L'Arlesienne (Mme. Ginoux) L'Arl
Unknown
While in Arles, Van Gogh painted two very similar portraits of Madame Ginoux, the proprietress of the Caf
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Interior of Men's Hospital at Arles Ward in the Hospital in Arles
Unknown
After recurrent attacks of his illness, Van Gogh decided to admit himself to a mental health clinic in Saint-R
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Garden of the Hospital at Saint-R
Unknown
This painting is a view of the garden at the hospital in Saint-R
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Garden of the Hospital at Saint-R
Unknown
This painting is a view of the garden at the hospital in Saint-R
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Roses and Anemones (detail) Still Life: Japanese Vase with Roses and Anemones
Unknown
Throughout June, Vincent remained in good spirits and was remarkably productive, painting some of his best known works.
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Roses and Anemones Still Life: Japanese Vase with Roses and Anemones
Unknown
Throughout June, Vincent remained in good spirits and was remarkably productive, painting some of his best known works.
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Two Little Girls (detail)
Unknown
Van Gogh loved children,. Even though he was a great artist, he never painted pictures of children to make them look like children. They always looked like small people with adult facial features
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Two Little Girls
Unknown
Van Gogh loved children,. Even though he was a great artist, he never painted pictures of children to make them look like children. They always looked like small people with adult facial features.
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Dr. Gachet's Daughter in Garden at Auvers-sur-Oise
Unknown
In pure, expressive colors the lovely scene is of Marguerite Gachet in her father's garden. Dr. Gauchet treated the painter during his nervous breakdown.
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Dr. Gachet's Daughter in Garden at Auvers-sur-Oise (detail)
Unknown
In pure, expressive colors the lovely scene is of Marguerite Gachet in her father's garden. Dr. Gauchet treated the painter during his nervous breakdown.
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The Afternoon Nap (After Millet))
Unknown
In 1890, Vincent exhibited with the Independants in Paris. During that same year, he exhibited with Les Vingt in Brussels, where Anna Boch, a fellow painter and friend, bought the only painting he ever sold in his lifetime. He moved to Auvers, where he was treated by his friend, Doctor Gachet. Unfortunately, Vincent's mental state was beyond help. Out of desperation and frustration, he fatally shot himself in 1890.
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The Afternoon Nap (After Millet))
Unknown
In 1890, Vincent exhibited with the Independants in Paris. During that same year, he exhibited with Les Vingt in Brussels, where Anna Boch, a fellow painter and friend, bought the only painting he ever sold in his lifetime. He moved to Auvers, where he was treated by his friend, Doctor Gachet. Unfortunately, Vincent's mental state was beyond help. Out of desperation and frustration, he fatally shot himself in 1890.
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The Afternoon Nap (After Millet)
Unknown
In 1890, Vincent exhibited with the Independants in Paris. During that same year, he exhibited with Les Vingt in Brussels, where Anna Boch, a fellow painter and friend, bought the only painting he ever sold in his lifetime. He moved to Auvers, where he was treated by his friend, Doctor Gachet. Unfortunately, Vincent's mental state was beyond help. Out of desperation and frustration, he fatally shot himself in 1890.
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Dr. Gachet's Garden (detail) Dr. Gachet's Garden at Auvers-sur-Oise
Unknown
In May 1890 Vincent visited Theo and his family in Paris and then settled in Auvers-sur-Oise, near Paris. The town was chosen because Dr. Gachet, himself a hobby painter and friend of the Impressionists, was living there, he agreed to take care of Vincent. In Auvers van Gogh painted more than 80 pictures. During these last weeks of his life it was only due to his work that he could forget about his illness, and he painted as if possessed.
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Dr. Gachet's Garden Dr. Gachet's Garden at Auvers-sur-Oise
Unknown
In May 1890 Vincent visited Theo and his family in Paris and then settled in Auvers-sur-Oise, near Paris. The town was chosen because Dr. Gachet, himself a hobby painter and friend of the Impressionists, was living there, he agreed to take care of Vincent. In Auvers van Gogh painted more than 80 pictures. During these last weeks of his life it was only due to his work that he could forget about his illness, and he painted as if possessed.
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Shelter on Montmartre
Unknown
Van Gogh developed profound fondness for Rembrandt, Frans Hals, and other Dutch masters, along with preferences for two contemporary French painters, Jean-Fran
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Self Portrait (detail) Portrait de L'Artiste
Unknown
One is struck by the profusion of red and blue dots swarming over the dark green background and by the manner in which the reddish brown of the jacket is rendered in a kind of mosaic of dark blue-green, orange-red, and yellow dots. The bright red beard and yellow-brown hair have been built up from separate brushstrokes in forceful colors, and Vincent has left touches of unmixed complementary green in the eyebrows, hair and beard. Van Gogh painted 24 self-portraits during a two-year stay in Paris (1886-88). In this Self-Portrait,the Dutch artist employed Seurat's dot technique. But what for Seurat was a method based on science became in van Gogh's hands an intense emotional language.
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Self Portrait (detail) Portrait de L'Artiste
Unknown
One is struck by the profusion of red and blue dots swarming over the dark green background and by the manner in which the reddish brown of the jacket is rendered in a kind of mosaic of dark blue-green, orange-red, and yellow dots. The bright red beard and yellow-brown hair have been built up from separate brushstrokes in forceful colors, and Vincent has left touches of unmixed complementary green in the eyebrows, hair and beard. Van Gogh painted 24 self-portraits during a two-year stay in Paris (1886-88). In this Self-Portrait,the Dutch artist employed Seurat's dot technique. But what for Seurat was a method based on science became in van Gogh's hands an intense emotional language.
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Self Portrait with Hat (artist)
Unknown
"Ah! Portraiture, portraiture with the thoughts, the soul of the model in it," Vincent van Gogh exclaimed to his art-dealer brother, Theo. Van Gogh's compassionate heart and interest in individual character - plus the wish of this lonely man to know himself and others - find expression in his portraits. Van Gogh was probably more interested in the human face than other Impressionists, whom he encountered for the first time in 1886. The artist painted twenty-two self-portraits while living with his brother in Paris from 1886-1888.
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Self Portrait with Hat. (detail)
Unknown
In February 1886 he moved to Paris, where he met Pissarro, Degas, Gauguin, Seurat, and Toulouse-Lautrec. At this time his painting underwent a violent metamorphosis under the combined influence of Impressionism and Japanese woodcuts, losing its moralistic flavour of social realism. Van Gogh became obsessed by the symbolic and expressive values of colors and began to use them for this purpose rather than, as did the Impressionists, for the reproduction of visual appearances, atmosphere, and light. `Instead of trying to reproduce exactly what I have before my eyes,' he wrote, `I use color more arbitrarily so as to express myself more forcibly'.
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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.
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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.
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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 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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Flowers Amidst Greenery
Unknown
"Art is jealous, she doesn't like taking second place an indisposition. Hence I shall humor her.
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L'Arlesienne (Mme. Ginoux). (detail) L'Arl
Unknown
While in Arles, Van Gogh painted two very similar portraits of Madame Ginoux, the proprietress of the Caf
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Plain Near Auvers (detail)
Unknown
In Auvers, Van Gogh choose to paint a large number of landscapes on canvases . A letter to Theo describes the sadness and loneliness he wished these paintings to express, but also his desire to show how 'healthy and heartening' he found the countryside.
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The Plain near Auvers
Unknown
In Auvers, Van Gogh chose to paint a large number of landscapes on canvases . A letter to Theo describes the sadness and loneliness he wished these paintings to express, but also his desire to show how 'healthy and heartening' he found the countryside.
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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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Sunflowers
Unknown
Van Gogh painted four still lifes of sunflowers in Paris in late summer 1887. There is a small oil sketch for this canvas (Rijksmuseum Vincent van Gogh, Amsterdam) as well as another painting of two sunflowers also signed and dated 1887 (Kunstmuseum Bern), and a larger canvas showing four sunflower heads (Rijksmuseum Kr
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Self Portrait (detail)
Unknown
Vincent van Gogh painted 24 self-portraits during a two-year stay in Paris (1886-88). In this Self-Portrait,the Dutch artist employed Seurat's dot technique. But what for Seurat was a method based on science became in van Gogh's hands an intense emotional language. Here the red are disturbing and totally in keeping with the nervous tension evident in van Gogh's gaze. Such self-portraits reveal the profound insecurity and frustration of a gifted man, whose odyssey in search of acceptance and peace of mind is powerfully expressed in his work
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Self Portrait
Unknown
Vincent van Gogh painted 24 self-portraits during a two-year stay in Paris (1886-88). In this Self-Portrait,the Dutch artist employed Seurat's dot technique. But what for Seurat was a method based on science became in van Gogh's hands an intense emotional language. Here the red are disturbing and totally in keeping with the nervous tension evident in van Gogh's gaze. Such self-portraits reveal the profound insecurity and frustration of a gifted man, whose odyssey in search of acceptance and peace of mind is powerfully expressed in his work
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Poplars on a Hill Poplars at Saint-Remy
Unknown
When van Gogh began experiencing prolonged seizures in 1889, he committed himself to an asylum in Saint-Remy. There he sometimes painted the fields and landscape visible through his window. Anxious about the recurrence of his illness, he made even bolder expressions of his feelings of nature. In Poplars at Saint-Remy, each brushstroke is like a broad, thick mosaic tile fitted into place. The trees tilting to the right seem to be walking up the hill with an instability that animates the entire composition.
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The Road Menders at Saint-R Large Plane Trees
Unknown
Painted during Vincent van Gogh's voluntary stay at the mental hospital at Saint-R
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Self Portrait (detal)
Unknown
Vincent van Gogh painted 24 self-portraits during a two-year stay in Paris (1886-88). In this Self-Portrait,the Dutch artist employed Seurat's dot technique. But what for Seurat was a method based on science became in van Gogh's hands an intense emotional language. Here the red are disturbing and totally in keeping with the nervous tension evident in van Gogh's gaze. Such self-portraits reveal the profound insecurity and frustration of a gifted man, whose odyssey in search of acceptance and peace of mind is powerfully expressed in his work.
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Self Portrait (detal)
Unknown
Vincent van Gogh painted 24 self-portraits during a two-year stay in Paris (1886-88). In this Self-Portrait,the Dutch artist employed Seurat's dot technique. But what for Seurat was a method based on science became in van Gogh's hands an intense emotional language. Here the red are disturbing and totally in keeping with the nervous tension evident in van Gogh's gaze. Such self-portraits reveal the profound insecurity and frustration of a gifted man, whose odyssey in search of acceptance and peace of mind is powerfully expressed in his work.
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The Road Menders at Saint-R Large Plane Trees
Unknown
Painted during Vincent van Gogh's voluntary stay at the mental hospital at Saint-R
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Self-Portrait at Age 58 Self-Portrait at the Age of 58
Unknown
The artist abandoned the idealized portraiture of the Rococo period and specialized in half-length portraits with naturalistic poses and subdued tones.
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Self-Portrait at Age 58 Self-Portrait at the Age of 58
Unknown
The artist abandoned the idealized portraiture of the Rococo period and specialized in half-length portraits with naturalistic poses and subdued tones.
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On the Beach: Mme E. Manet, EugFne Manet (wife and brother of the painter)
Unknown
Artist's brother, brushwork
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On the Beach: Mme E. Manet, EugFne Manet (wife and brother of the painter)
Unknown
Artist's wife, brushwork
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The Origin of the World
Unknown
One of the most notoriously graphic portraits of all time, is Courbet's The Origin of the World, a full-frontal legs-spread record of a woman's torso from her breasts to her thighs. Courbet, who had a brilliantly and bluntly Realist style, was possibly the only artist alive who would, or could, have painted this unblinking portrait.
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The Origin of the World
Unknown
One of the most notoriously graphic portraits of all time, is Courbet's The Origin of the World, a full-frontal legs-spread record of a woman's torso from her breasts to her thighs. Courbet, who had a brilliantly and bluntly Realist style, was possibly the only artist alive who would, or could, have painted this unblinking portrait.
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Apotheosis of Homer (detail)
Unknown
The Apotheosis of Homer, which hung in the same 1827 Salon as Delacroix's Death of Sarda-napalus, is the largest of Ingres's Raphaelesque paintings, but is no nearer to pastiche than any of the others. This modern version of Raphael's Parnassus not only proclaimed the stylistic values of the classical tradition but also tried to equal the iconography of The School of Athens in its reunion of great men of ancient and modern times in the realms of literature and the arts.
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Apotheosis of Homer (detail)
Unknown
The Apotheosis of Homer, which hung in the same 1827 Salon as Delacroix's Death of Sarda-napalus, is the largest of Ingres's Raphaelesque paintings, but is no nearer to pastiche than any of the others. This modern version of Raphael's Parnassus not only proclaimed the stylistic values of the classical tradition but also tried to equal the iconography of The School of Athens in its reunion of great men of ancient and modern times in the realms of literature and the arts.
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Apotheosis of Homer (detail)
Unknown
The Apotheosis of Homer, which hung in the same 1827 Salon as Delacroix's Death of Sarda-napalus, is the largest of Ingres's Raphaelesque paintings, but is no nearer to pastiche than any of the others. This modern version of Raphael's Parnassus not only proclaimed the stylistic values of the classical tradition but also tried to equal the iconography of The School of Athens in its reunion of great men of ancient and modern times in the realms of literature and the arts.
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Apotheosis of Homer (detail)
Unknown
The Apotheosis of Homer, which hung in the same 1827 Salon as Delacroix's Death of Sarda-napalus, is the largest of Ingres's Raphaelesque paintings, but is no nearer to pastiche than any of the others. This modern version of Raphael's Parnassus not only proclaimed the stylistic values of the classical tradition but also tried to equal the iconography of The School of Athens in its reunion of great men of ancient and modern times in the realms of literature and the arts.
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Planers of Parquet Floor (detail) The Floor Scrapers
Unknown
Upon his untimely death in 1894 at the age of 46, Gustave Caillebotte willed to the Louvre, paintings on the highest level, by his friends the artists: Edouard Manet, Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Paul Cezanne, Camille Pissarro, Alfred Sisley, and Berthe Morisot. To its shame The Louvre caved in to the power of the Salon, local artworld politics that brought pressure to bear against the bequest and refused to accept the paintings, thus depriving itself to this day of the single greatest collection of Impressionist paintings in the world. To its credit eventually the Louvre agreed to accept part of the bequest. (Ronnie Landfield)....via Caillebotte's heirs through the intermediary of Auguste Renoir.
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Planers of Parquet Floor The Floor Scrapers
Unknown
Upon his untimely death in 1894 at the age of 46, Gustave Caillebotte willed to the Louvre, paintings on the highest level, by his friends the artists: Edouard Manet, Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Paul Cezanne, Camille Pissarro, Alfred Sisley, and Berthe Morisot. To its shame The Louvre caved in to the power of the Salon, local artworld politics that brought pressure to bear against the bequest and refused to accept the paintings, thus depriving itself to this day of the single greatest collection of Impressionist paintings in the world. To its credit eventually the Louvre agreed to accept part of the bequest. (Ronnie Landfield)....via Caillebotte's heirs through the intermediary of Auguste Renoir.
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Crispin and Scapin
Unknown
Daumier was the greatest social satirist of his day. Son of a Marseilles glazier, he accompanied his family to Paris in 1816. There he studied under Lenoir and learned lithography. He soon began to contribute cartoons to the weekly Caricature. In 1832 his representation of Louis Philippe as Gargantua caused him six months' imprisonment. Two outstanding lithographs of 1834, Rue Transnonain and Le Ventre l
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Crispin and Scapin (detail)
Unknown
Daumier was the greatest social satirist of his day. Son of a Marseilles glazier, he accompanied his family to Paris in 1816. There he studied under Lenoir and learned lithography. He soon began to contribute cartoons to the weekly Caricature. In 1832 his representation of Louis Philippe as Gargantua caused him six months' imprisonment. Two outstanding lithographs of 1834, Rue Transnonain and Le Ventre l
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Don Quixote and the Dead Mule (detail) Don Quixote, Sancho Pansa and the Dead Mule
Unknown
This work, one of many versions of the subject that Daumier painted after 1864, illustrates a passage from Don Quixote, the famous epic novel by Cervantes (1547
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Don Quixote and the Dead Mule (detail) Don Quixote, Sancho Pansa and the Dead Mule
Unknown
Daumier experimented with oils including several on the theme of Don Quixote, although many of his pictures remained unfinished, producing loosely handled, thickly impasto works of strong chiaroscuro.
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Don Quixote and the Dead Mule Don Quixote, Sancho Pansa and the Dead Mule
Unknown
Daumier did a numberof paintings featuring Don Quixote as a larger-than-life hero. His technique was remarkably broad and free.
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Three Reclining Women
Unknown
Daumier's paintings were probably done for the most part fairly late in his career. Although he was accepted four times by the Salon, he never exhibited his paintings otherwise and they remained practically unknown up to the time of an exhibition held at Durand-Ruel's gallery in 1878, the year of his death.
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The Cliffs at Etretat after a Storm (detail) The Cliff at Etretat after the Storm
Unknown
The painting was executed in the summer of 1869 at Etretat, at the same time as The Wave (or The Stormy Sea), and both were sent to the Salon the following year. The paintings almost form a pair, representing, in two acts, the dramatic force of nature; both are images of majestic and colossal energy. In the serenity after the storm, Courbet changes the proportion of land to sea and sky, including here the best-known geological sight of Etretat, the so-called Porte d
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Three Reclining Women
Unknown
Daumier's paintings were probably done for the most part fairly late in his career. Although he was accepted four times by the Salon, he never exhibited his paintings otherwise and they remained practically unknown up to the time of an exhibition held at Durand-Ruel's gallery in 1878, the year of his death.
