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 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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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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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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The Horse Fair (detail)
Unknown
This picture shows the horse market held in Paris on the tree-lined boulevard de l'H
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The Horse Fair (detail)
Unknown
"The lively sketch of the composition is ruled by the waving masses of colour of brown, black and white horses, which are led into sight. They seem to be mixed up with red ribbons, red bridles, edgings and red stripes on the saddle-clothes. On top of this the clenched mass of white clouds as an echo on the bodies of the horses. Shown is the Horse Fair in Paris, in the background you can see the dome La Salpetriere. There are two versions of this world-famous painting, they are almost equal in their proportions, but different in their size." (C. Steckner, 1992)
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The Artist Painting the Entombment
Unknown
Of all the visual wits of the nineteenth century, none was more sharp or observant than the painter, sculptor and engraver Honor
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The Artist Painting the Entombment (detail)
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. The paintings are in the main a documentation of contemporary life and manners with satirical overtones, although he also did a number featuring Don Quixote as a larger-than-life hero. His technique was remarkably broad and free.
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The Painter (detail)
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. The paintings are in the main a documentation of contemporary life and manners with satirical overtones, although he also did a number featuring Don Quixote as a larger-than-life hero. His technique was remarkably broad and free.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Painter
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. The paintings are in the main a documentation of contemporary life and manners with satirical overtones, although he also did a number featuring Don Quixote as a larger-than-life hero. His technique was remarkably broad and free.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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The Consecration of the Emperor Napoleon and the Coronation of Empress Josephine (December 2, 1804) (detail)
Unknown
Appointed official painter to the Emperor in December 1804, David was given the task of commemorating the Coronation festivities in four huge canvasses, only two of which were executed (the Distribution of the Eagles is at Versailles), This ceremony took place in the cathedral of Notre-Dame in Paris. David chose to show the episode following the actual consecration: Napoleon crowning Josephine while Pope Pius VII gives him his blessing. The action is only a small part of a composition conceived as an enormous group portrait containing over a hundred figures.
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Ploughing in Nivernais (detail)
Unknown
Bonheurrepresents animals as they really are, as she saw them in the country. Her gift of accurate observation was, however, allied to a certain dryness of style in painting; she often failed to give a perfect sense of atmosphere. On the other hand, the anatomy of her animals is always faultlessly true. There is nothing feminine in her handling; her treatment is always manly and firm. Nivernais was a formerly a province of central France near the city of Nevers.
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Ploughing in the Nivernais Region (detail)
Unknown
Bonheur's informed and sympathetic pictures of animal life were remarkably enlightened in approach. They gained her wide popularity, particularly in England and America, where much of her work is to be seen. Bonheur's informed and sympathetic pictures of animal life were remarkably enlightened in approach. They gained her wide popularity, particularly in England and America, where much of her work is to be seen.
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Ploughing in the Nivernais Region (detail)
Unknown
Bonheur's informed and sympathetic pictures of animal life were remarkably enlightened in approach. They gained her wide popularity, particularly in England and America, where much of her work is to be seen. Bonheur's informed and sympathetic pictures of animal life were remarkably enlightened in approach. They gained her wide popularity, particularly in England and America, where much of her work is to be seen.
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Ang
Unknown
Manet also introduced the technique of lighting faces or figures from the front, almost eliminating shadows. This method, called peinture claire, is now considered one of the basic technical contributions of 19th-century art. Manet, who preferred to paint from nature, chose to picture things in the present and as he saw them. In addition to a representation of the object painted, Manet perceived his work as an arrangement of paint areas on a canvas.
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Laundry Drying on the Banks of the Seine (detail) Laundry Drying
Unknown
Caillebotte was a man of independent means who helped his Impressionist friends by purchasing their paintings at good prices (after his death he willed them to France), Caillebotte isn't usually ranked with the likes of Manet, Monet or Renoir. But his works here prove that he was enormously skilled, a fine craftsman, capable at rendering well a variety of subjects.
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Laundry Drying on the Banks of the Seine Laundry Drying
Unknown
Caillebotte was a man of independent means who helped his Impressionist friends by purchasing their paintings at good prices (after his death he willed them to France), Caillebotte isn't usually ranked with the likes of Manet, Monet or Renoir. But his works here prove that he was enormously skilled, a fine craftsman, capable at rendering well a variety of subjects.
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Le D Le Bain
Unknown
The active spirit of independance in Impressionism --- if not its style --- may be considered to date from this famous work, refused by the Salon in 1863 and exhibited, under the title of Le Bain at the Salon des Refus
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Le D Le Bain
Unknown
The furious outcry this painting caused as the principal exhibit among the Salon rejects was based on the alleged indecency of two fully-dressed men appearing in the company of the naked female bather (an accusation no one had thought to make against the comparable juxtaposition in the work attributed to Giorgione). But the respectable persons represented in sedate conversation were Manet's favourite model, Victorine Meurend (whom he also painted as a toreador), his brother-in-law, Ferdinand Leenhoff, and Manet's younger brother, Eug
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Le D Le Bain
Unknown
The active spirit of independance in Impressionism --- if not its style --- may be considered to date from this famous work, refused by the Salon in 1863 and exhibited, under the title of Le Bain at the Salon des Refus
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Le D Le Bain
Unknown
The furious outcry it caused as the principal exhibit among the Salon rejects was based on the alleged indecency of two fully-dressed men appearing in the company of the naked female bather (an accusation no one had thought to make against the comparable juxtaposition in the work attributed to Giorgione). But the respectable persons represented in sedate conversation were Manet's favourite model, Victorine Meurend (whom he also painted as a toreador), his brother-in-law, Ferdinand Leenhoff, and Manet's younger brother, Eug
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Le D Le Bain
Unknown
The active spirit of independance in Impressionism --- if not its style --- may be considered to date from this famous work, refused by the Salon in 1863 and exhibited, under the title of Le Bain at the Salon des Refus
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At the Milliner's (detail) The Milliner
Unknown
Manet did a large number of pastels in broad, determined strokes . In much of his art Indeed, little or no attempt is made to accurately depict the appearance or form of objects in the realm of nature or the existing physical world. The door of the objective world was thus closed, but the inner world of the imagination offered seemingly infinite possibilities for exploration, as did the manipulation of pigments on a flat surface for their purely intrinsic visual or aesthetic appeal.
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At the Milliner's The Milliner
Unknown
Manet did a large number of pastels iIn broad, determined strokes . In much of his art Indeed, little or no attempt is made to accurately depict the appearance or form of objects in the realm of nature or the existing physical world. The door of the objective world was thus closed, but the inner world of the imagination offered seemingly infinite possibilities for exploration, as did the manipulation of pigments on a flat surface for their purely intrinsic visual or aesthetic appeal.
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Landscape in the Jura (detail) Jura Landscape
Unknown
Gustave Courbet, a self-declared Realist, rejected the inherent sentimentality of the earlier Romantics. Courbet's interest in portraying things as they really appear, together with his non-academic orientation, place him in the front rank of the quest for realism that was the premise for much of the artistic activity during the second half of the nineteenth century. Emphatic in his opinions and constantly defying authority, Courbet believed that painters should paint only their own time and that "painting is an essentially concrete art, and can consist only of representation of real and existing things."
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Bundle of Asparagus
Unknown
Manet painted still lifes throughout his career but often limited himself to representing one vegetable or fruit. Manet
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Landscape in the Jura Jura Landscape
Unknown
Gustave Courbet, a self-declared Realist, rejected the inherent sentimentality of the earlier Romantics. Courbet's interest in portraying things as they really appear, together with his non-academic orientation, place him in the front rank of the quest for realism that was the premise for much of the artistic activity during the second half of the nineteenth century. Emphatic in his opinions and constantly defying authority, Courbet believed that painters should paint only their own time and that "painting is an essentially concrete art, and can consist only of representation of real and existing things."
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Young Girl with Flowered Hat (detail)
Unknown
Courbet himself later asserted that from 1848 on, he concentrated on "realistic" subjects. His efforts were more consciously designed to arouse controversy than Millet's had been. He coined the term realism to define his interest in the actual circumstances of his day. Despite his realism, however, Courbet controlled his images, underscoring the dramatic and symbolic nature of his subjects so that his paintings had an intellectual as well as a visual component.
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The Source
Unknown
Courbet's "The Source," painted in a naturalistic style and devoid of the trappings of academic allegory, may have been a response to Ingres's "La Source" (1856, Mus
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The Source (detail)
Unknown
Courbet's "The Source," painted in a naturalistic style and devoid of the trappings of academic allegory, may have been a response to Ingres's "La Source" (1856, Mus
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Country House in Rueil (detail) Villa at Rueil
Unknown
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
Unknown
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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Liberty Leading the People (detail) Liberty Leading the People (July 28, 1830)
Unknown
Delacroix was not actively involved in the three days of July 1830, known as the Trois Glorieuses, which saw out the autocracy of Charles X and brought in Louis-Philippe's parlementary monarchy. But liberal and romantic as he was, he was keen to celebrate the 28 July, when Parisians took up arms in the vain hope of restoring the Republic. The allegorical figure of Liberty waves the tricolour flag and storms the corpse-ridden barricades with a young combatant at her side. Realism and epic vision work together. Reviled by conservatives, the work was bought by Louis-Philippe at the 1831 Salon. Soon after, it was hidden for fear of inciting public unrest.
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Liberty Leading the People (detail) Liberty Leading the People (July 28, 1830)
Unknown
Delacroix was not actively involved in the three days of July 1830, known as the Trois Glorieuses, which saw out the autocracy of Charles X and brought in Louis-Philippe's parlementary monarchy. But liberal and romantic as he was, he was keen to celebrate the 28 July, when Parisians took up arms in the vain hope of restoring the Republic. The allegorical figure of Liberty waves the tricolour flag and storms the corpse-ridden barricades with a young combatant at her side. Realism and epic vision work together. Reviled by conservatives, the work was bought by Louis-Philippe at the 1831 Salon. Soon after, it was hidden for fear of inciting public unrest.
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Liberty Leading the People (detail) Liberty Leading the People (July 28, 1830)
Unknown
Delacroix was not actively involved in the three days of July 1830, known as the Trois Glorieuses, which saw out the autocracy of Charles X and brought in Louis-Philippe's parlementary monarchy. But liberal and romantic as he was, he was keen to celebrate the 28 July, when Parisians took up arms in the vain hope of restoring the Republic. The allegorical figure of Liberty waves the tricolour flag and storms the corpse-ridden barricades with a young combatant at her side. Realism and epic vision work together. Reviled by conservatives, the work was bought by Louis-Philippe at the 1831 Salon. Soon after, it was hidden for fear of inciting public unrest.
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Liberty Leading the People Liberty Leading the People (July 28, 1830)
Unknown
Delacroix was not actively involved in the three days of July 1830, known as the Trois Glorieuses, which saw out the autocracy of Charles X and brought in Louis-Philippe's parlementary monarchy. But liberal and romantic as he was, he was keen to celebrate the 28 July, when Parisians took up arms in the vain hope of restoring the Republic. The allegorical figure of Liberty waves the tricolour flag and storms the corpse-ridden barricades with a young combatant at her side. Realism and epic vision work together. Reviled by conservatives, the work was bought by Louis-Philippe at the 1831 Salon. Soon after, it was hidden for fear of inciting public unrest.
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Young Girl with Flowered Hat
Unknown
Courbet himself later asserted that from 1848 on, he concentrated on "realistic" subjects. His efforts were more consciously designed to arouse controversy than Millet's had been. He coined the term realism to define his interest in the actual circumstances of his day. Despite his realism, however, Courbet controlled his images, underscoring the dramatic and symbolic nature of his subjects so that his paintings had an intellectual as well as a visual component.
