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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Column of Trajan. Restored 1990s
Unknown
Bands 8,9,10. Band 8, Trajan receiving Dacian chief; band 10, troops advancing, Trajan receiving heads; fr NE
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Column of Trajan. Restored 1990s
Unknown
Det: band 2, with cutting of trees and building of fortifications; band 3, with presentation of severed heads to Trajan; from NE
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Column of Trajan. Restored 1990s
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Band 11, movement of troops; band 12, Roman galleys, from SSW
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Column of Trajan. Restored 1990s
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Band 1: river god, troops crossing pontoon bridge. band 2, building a fortified city, from SSW
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Column of Trajan. Restored 1990s
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Band 9, Trajan sending cavalry into battle; band 10, building & Trajan addressing troops, from SSW
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Column of Trajan. Restored 1990s
Unknown
Section before band 1, w timber fortifications, stored mats of logs, and stored hay; band 1, with procession before Trajan; fr NE
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Column of Trajan. Restored 1990s
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Band 3, infantry & cavalry before a walled city; band 4: "ad locutio": Trajan addressing troops, from SSW
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Column of Trajan. Restored 1990s
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Band 7, troops crossing pontoon bridge; band 8, troops at work among trees, from SSW
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Column of Trajan. Restored 1990s
Unknown
Band 2, with cutting of trees and building of fortifications; band 3 with fighting and presenting of severed heads to Trajan; fr NE
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Column of Trajan. Restored 1990s
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Bands11,12,13,14. Band 11, capture of a city (?); band 12 a Roman galley & Roman relig.ceremony; fr NE
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Column of Trajan. Restored 1990s
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Bands 15,16,17,18,19. Band 15: religious ceremony; band 16, building fortifications; band 18, Trajan addressing troops; from NE
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Column of Trajan. Restored 1990s
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Bands 4,5,6,7. band 5, a cavalry battle; band 6, Emperor Trajan addressing the troops; band 7, Trajan receiving submission of Dacians; fr NE
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Column of Trajan. Restored 1990s
Unknown
Substructure of the column, with trophies of war between Romans and Dacians; base of column, bands 1-3' fr NE
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Column with Reliefs illustrating the Life of Christ, commissioned by Bishop Bernward for St. Michael's church in Hildesheim
Unknown
Overall view in setting
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Column with Reliefs illustrating the Life of Christ, commissioned by Bishop Bernward for St. Michael's church in Hildesheim
Unknown
Rows 1 & 2: Healing of the Outcasts and Calling of the Apostles James & John
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Column with Reliefs illustrating the Life of Christ, commissioned by Bishop Bernward for St. Michael's church in Hildesheim
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Close detail of Lazarus in the house of the glutton, 3rd band fr top, fr WSW
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Coronation of the Virgin (detail) The Coronation of the Virgin with Saints
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The 'Coronation of the Virgin', the centre panel of the altarpiece, shows Mary being crowned Queen of Heaven by her son Jesus Christ, in the presence of saints and choirs of angels with musical instruments
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Coronation of the Virgin (detail) The Coronation of the Virgin with Saints
Unknown
The altarpiece was executed in 1414 for the church of the Florentine monastery of Santa Maria degli Angeli where the artist lived, being a Camaldolite monk. The Coronation is surrounded by two saints's groups, over the circles of the seven sky; the rich coloring of the polypthyc and the sacred atmosphere the painter realized are still involved with the tradition of international Gothic painting, wich was to give way to the new Renaissance art. On the spires are represented the Blessing Christ in the middle of the Annunciation, while the predella is decorated with scenes from the lifes of Mary, Christ and Saint Benedict, patron of the Camaldolite Order.
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Coronation of the Virgin (detail) The Coronation of the Virgin with Saints
Unknown
Among the saints on the right wing are Romuald (in white), Peter holding keys, John the Evangelist with a book inscribed with words from his Gospel (1: 1), Lawrence and Dominic.
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Coronation of the Virgin (detail) The Coronation of the Virgin with Saints
Unknown
The altarpiece comes from the Camaldolese monastery (now destroyed) of San Benedetto fuori della Porta a Pinti, Florence. It is a smaller version of one painted in 1414 for the main church of the order in Florence, where Lorenzo Monaco was a monk.
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Coronation of the Virgin (detail) The Coronation of the Virgin with Saints
Unknown
The saints on the left wing include Benedict (in white) with a book inscribed with the words from his Rule, Matthew with a book inscribed with words from his Gospel (2: 1), Miniato, Stephen, and Francis.
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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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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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Count Moritz of Saxony, Field Marshal of France (detail) Maurice, Comte de Saxe, Marshal of France
Unknown
January 1747 Louis appointed Saxe marshal general of France. In 1747 he invaded Holland, defeated an allied army in the Battle of Lauffeld near Maastricht (July 2), and captured the fortress of Bergen-Op-Zoom. Saxe retired to his ch
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Count Moritz of Saxony, Field Marshal of France Maurice, Comte de Saxe, Marshal of France
Unknown
La Tour was a pastelist whose animated and sharply characterized portraits made him one of the most successful and imitated portraitists of 18th-century France.
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Country Dance Dance in the Country (Aline Charigot and Paul Lhote)
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N the 1880s, Renoir abandoned Impressionism for what is often called the
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Country Dance (detail) Dance in the Country (Aline Charigot and Paul Lhote)
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In the 1880s, Renoir abandoned Impressionism for what is often called the
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Country House in Rueil (detail) Villa at Rueil
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In 1881 Manet rented a villa at Versailles, and, by the following year, with his illness progressing at an alarming pace, he went to stay in a villa at Rueil. He took part in an important exhibition of French art that was held in London at Burlington House.
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Country House in Rueil Villa at Rueil
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In 1881 Manet rented a villa at Versailles, and, by the following year, with his illness progressing at an alarming pace, he went to stay in a villa at Rueil. He took part in an important exhibition of French art that was held in London at Burlington House.
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Crispin and Scapin
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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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Crucifixion (Panel from the Pisa Altar) (detail) Pisa Polyptych (one of eleven panels)
Unknown
On February 19th 1426 Masaccio agreed to paint an altarpiece for a chapel in the church of the Carmine in Pisa for the sum of 80 florins. On December 26th of that year the work must have been already completed since payment for it is recorded on this date. Vasari gave a detailed description of the work which was the basis for art critics for the attempt at reconstruction and for the recovery and identification of the work which was dismantled and dispersed in the 18th century. Only eleven pieces have so far come to light and they are not sufficient to enable a reliable reconstruction of the whole work. The Crucifixion is one of the eleven panels connected with the Pisa Polyptych.
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Crucifixion (Panel from the Pisa Altar) (detail) Pisa Polyptych (one of eleven panels)
Unknown
On February 19th 1426 Masaccio agreed to paint an altarpiece for a chapel in the church of the Carmine in Pisa for the sum of 80 florins. On December 26th of that year the work must have been already completed since payment for it is recorded on this date. Vasari gave a detailed description of the work which was the basis for art critics for the attempt at reconstruction and for the recovery and identification of the work which was dismantled and dispersed in the 18th century. Only eleven pieces have so far come to light and they are not sufficient to enable a reliable reconstruction of the whole work. The Crucifixion is one of the eleven panels connected with the Pisa Polyptych.
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Crucifixion (Panel from the Pisa Altar) (detail) Pisa Polyptych (one of eleven panels)
Unknown
On February 19th 1426 Masaccio agreed to paint an altarpiece for a chapel in the church of the Carmine in Pisa for the sum of 80 florins. On December 26th of that year the work must have been already completed since payment for it is recorded on this date. Vasari gave a detailed description of the work which was the basis for art critics for the attempt at reconstruction and for the recovery and identification of the work which was dismantled and dispersed in the 18th century. Only eleven pieces have so far come to light and they are not sufficient to enable a reliable reconstruction of the whole work. The Crucifixion is one of the eleven panels connected with the Pisa Polyptych.
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Crucifixion with Stories of Passion and Holy Figures (detail) The Decoration of the Camposanto in Pisa
Unknown
In the Last Judgement Christ and the Virgin are set side by side in separate mandorlas, and Christ concentrates upon a single condemnatory gesture. The traditional balance between the Blessed and the Damned has been maintained, but Hell has swollen to become almost a separate scene, running the full height of the wall and rivalling the whole of the rest of the Last Judgement in size. The change in relative proportion expresses the sense of guilt and the awareness of the just and terrifying wrath of God that follow the disasters of the forties and permeate the art of the fifties and sixties.
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Cupid Carving His Bow (detail)
Unknown
The painting is a good example of the Mannerist tendencies in the art of Parmigianino. His works are distinguished by ambiguity of spatial composition, by distortion and elongation of the human figure, and by the pursuit of what the art historian Vasari called
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Cupid Carving His Bow (detail)
Unknown
The painting is a good example of the Mannerist tendencies in the art of Parmigianino. His works are distinguished by ambiguity of spatial composition, by distortion and elongation of the human figure, and by the pursuit of what the art historian Vasari called
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Dana
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The maiden is reclining on a bed of classical design ornamented with knobs. Nearby Eros, as an intercessor between Zeus and the maiden, and representing divine desire, helps her to hold the sheet, so as not to loose the seed. At their feet two cupids, one wingless and the other winged, and intended as a contrast between "sacred love and profane love", are busy engraving a tablet with an arrow. It is a perfectly handled and balanced scene, that, while reminiscent of Titian's paintings, is not free of influence of Giulio Romano.
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Danae
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Between 1553 and 1554 Titian executed for the Habsburgs two "mythological fables" of clearly erotic intent, the Danae and the Venus and Adonis, both now in the Prado, Madrid. The Danae is really a variation on a canvas painted ten years earlier for the Farnese family. With greater fidelity to Ovid's text, the Cupid has now been replaced by the elderly nurse who attempts to use her apron to gather the shower of gold into which Jupiter had transformed himself in order to possess the young woman.
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Danae and the Shower of Gold (detail) Danae with Nursemaid
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The young Danae, who is accompanied in her bed by a little dog, watches as the rain of coins falls on her, whilst her surprised and greedy servant tries to collect as much as she can in her apron. The whiteness of Danae's body contrasts with the dark and twisted body of the servant; both stand out against the beautiful and almost stormy golden background.
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Danae and the Shower of Gold (detail) Danae with Nursemaid
Unknown
The represented theme is of the mythological fable in which Zeus had to transform himself into golden rain to seduce the beautiful Danae, whose father had her locked in a hermetically sealed metal room precisely to protect her from the advances of this very god. In his flirtatious adventures Zeus transformed himself to avoid being recognised: into an eagle, a bull, a swan..., or, as in this case, golden rain. From this special relationship with Danae, Perseus, one of the most important heroes of classical mythology, would be born.
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Danae (detail)
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Between 1553 and 1554 Titian executed for the Habsburgs two "mythological fables" of clearly erotic intent, the Danae and the Venus and Adonis, both now in the Prado, Madrid. The Danae is really a variation on a canvas painted ten years earlier for the Farnese family. With greater fidelity to Ovid's text, the Cupid has now been replaced by the elderly nurse who attempts to use her apron to gather the shower of gold into which Jupiter had transformed himself in order to possess the young woman.
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Danae (detail)
Unknown
At 1545 Titian accepted the invitation of the Pope's nephew, Cardinal Alessandro Farnese and went to Rome. He carried with him the remarkable Danae (now in Naples), painted for Ottavio Farnese, which he had completed shortly before his departure. This work constitutes the clearest evidence of a stylistic change of direction in Titian's painting at this time.
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Danae (detail)
Unknown
This work constitutes the clearest evidence of a stylistic change of direction in Titian's painting at this time.It is clear that a work such as this Danae could never have been fully appreciated in the artistic climate of contemporary Rome. Indeed, Vasari recounts how the great Michelangelo went to pay his respects to Titian in his rooms and, having seen the Danae, praised its "colouring and style". On leaving the painter's house, however, Michelangelo could not resist adding that "it was a shame that in Venice they did not learn to draw well from the beginning and that those painters did not pursue their studies with more method."
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Dance in the City (detail) City Dance (Suzanne Valadon and Eug
Unknown
During his journey to Italy, he discovered Raphael and the hallmarks of classicism: the beauty of drawing, the purity of a clear line to define a form, and the expressive force of smooth painting when used to enhance the suppleness and modeling of a body. Within this painting are his frineds Suzanne Valadon and Eug
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Dancing at the Moulin de la Galette
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Renoir delighted in `the people's Paris', of which the Moulin de la Galette near the top of Montmartre was a characteristic place of entertainment, and his picture of the Sunday afternoon dance in its acacia-shaded courtyard is one of his happiest compositions. In still-rural Montmartre, the Moulin, called `de la Galette' from the pancake which was its speciality, had a local client
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Dancing at the Moulin de la Galette (detail)
Unknown
The girl in the striped dress in the middle foreground (as charming of any of Watteau's court ladies) was said to be Estelle, the sister of Renoir's model, Jeanne. Another of Renoir's models, Margot, is seen to the left dancing with the Cuban painter, Cardenas.
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Dancing at the Moulin de la Galette (detail)
Unknown
At the foreground table at the right are the artist's friends, Frank Lamy, Norbert Goeneutte and Georges Rivi
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Dancing at the Moulin de la Galette (detail)
Unknown
Moulin de la Galette near the top of Montmartre was a characteristic place of entertainment, and his picture of the Sunday afternoon dance in its acacia-shaded courtyard is one of his happiest compositions. In still-rural Montmartre, the Moulin, called `de la Galette' from the pancake which was its speciality, had a local client
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Dancing in the City City Dance (Suzanne Valadon and Eug
Unknown
During his journey to Italy, he discovered Raphael and the hallmarks of classicism: the beauty of drawing, the purity of a clear line to define a form, and the expressive force of smooth painting when used to enhance the suppleness and modeling of a body. Within this painting are his frineds Suzanne Valadon and Eug
