Visual Resources Center

Frederic Edwin Church, Niagara, 1857 painting showing the waterfall
Frederic Edwin Church, Niagara, 1857, National Gallery of Art, Washington. (Photograph courtesy National Gallery of Art, Washington)

Visual Resources Center


The Visual Resources Center is dedicated to supporting teaching and research at the University of Delaware. Our digital image collections illustrate the global history of art and architecture from prehistory to the present and are always available online to current University of Delaware faculty, staff, and students in all disciplines. The Visual Resources Center's staff is here to assist members of the University of Delaware community in creating and using digital media.
 

Quick Links

Arts​tor on JSTOR | Image Order Form | News | ​Open-Access Collections

Open-Access Collections

The following institutions have adopted open-access policies, which allow you to download and use images of public-domain works in their collections without having to obtain permission or pay a fee. In ​many cases you are free to use these images however you wish, but sometimes there are additional restrictions and stipulations, so pay close attention to each institution's rights statement. Open-access policies apply only to the images, and not to the works of art themselves, so copyrighted works made since about 1900 are generally excluded. 

 

View the collections

Art Institute of Chicago, Chicago, IL

Barnes Foundation, Philadelphia, PA

Belvedere, Vienna, Austria

Birmingham Museum of Art, Birmingham, AL

Birmingham Museums, Birmingham, England

Clark Art Institute, Williamstown, MA

Cleveland Museum of Art, Cleveland, OH

Dallas Museum of Art, Dallas, TX

J. Paul Getty Museum, Los Angeles, CA

Indianapolis Museum of Art at Newfields, Indianapolis, IN

Koninklijke Bibliotheek, The Hague, Netherlands

Kunstmuseum Basel, Basel, Switzerland

Library of Congress, Washington, DC

Los Angeles County Museum of Art, Los Angeles, CA

Metropolitan Museum of Art, New York, NY

Minneapolis Institute of Art, Minneapolis, MN

Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand

National Gallery of Art, Washington, DC

Nationalmuseum, Stockholm, Sweden

Paris Musées, Paris, France

Rijksmuseum, Amsterdam, Netherlands

Saint Louis Art Museum, Saint Louis, MO

Smithsonian Institution, Washington, DC

Statens Museum for Kunst, Copenhagen, Denmark

Walters Art Museum, Baltimore, MD

Yale Center for British Art, New Haven, CT

Yale University Art Gallery, New Haven, CT

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Copyright 

Disclaimer: This is intended only to provide general information on copyright, and should not be cited in defense of any particular use of protected works or images. Always consult a copyright professional if you have questions.

All images in the Visual Resources Center are subject to copyright law. These images are intended solely for purposes of teaching, scholarship, and research at the University of Delaware, and may not be used for any commercial purposes. Images in the Visual Resources Center may not be reproduced or transmitted in any form or by any means, electronic, mechanical, or likewise. It is the sole responsibility of the user to secure any and all permissions from the appropriate copyright owners before publishing an image or using it in anything but a nonprofit, educational capacity. The Visual Resources Center does not own the copyright to any of the materials in its collection, and cannot grant any requests for permission to reproduce these materials.

Like an author's book, an artist's work of art (e.g., painting, sculpture, photograph) is considered the intellectual property of the person who created it. Copyright is a legal means of protecting a person's intellectual property from unauthorized use by others. Copyright can apply to the work of art itself, but also to a photographic reproduction of that work of art, as well as to a book in which that photographic reproduction is published.​

The protection of intellectual property under United States law is authorized in Article 1, Section 8, Clause 8 of the Constitution. Today, Title 17 of the United States Code defines exactly what qualifies for copyright protection, and stipulates how long that protec​tion​ will last before a work eventually passes into the public domain.

Copyright protection extends for a fixed number of years after either the creation of a work, the publication of a work, or the death of the artist or author, depending on the case. Under current law, copyright on works of art created by a known artist generally expires 70 years after the artist's death. Whenever the artist's death date cannot be established (either the artist is unknown or a corporate body is considered to be the artist), works are covered for 95 years from the date of publication or 120 years from the date of creation, whichever comes first.

Architectural works (i.e., buildings) completed before 1990 are not typically protected by copyright. However, an architect's drawings are treated as works of art, and would therefore be protected for 70 years after the architect's death. Architectural works completed in 1990 or later are generally protected by copyright. However, if a copyrighted architectural work is in a public place, you are permitted to photograph it without infringing upon the architect's copyright.

Works that are no longer protected by copyright are said to be in the public domain. Most works made prior to the 20th century fall into this category. Anyone may freely reproduce public-domain works.

However, even if a work of art is itself in the public domain, a given photographic image of it may not be. Unless you yourself made the photograph of the public-domain work in person, an image of that work is probably copyrighted by someone else. Professional photographers, museums, and publishers usually require permission (and often a fee) before you can reproduce their images of public-domain works from sources like websites or books.

For works of art that are already in the public domain, some cultural institutions have implemented open-access policies, which allow you to download and use images of these works without having to obtain permission or pay a fee. In many cases you are free to use these images however ​you wish, but sometimes there are additional restrictions and stipulations, so pay close attention to each institution's rights statement. Open-access policies apply only to the images, and not to the works of art themselves, so copyrighted works made since about 1900 are generally excluded.

A list of open-access collections can be found here.

All of the images on the Visual Resources Center's web pages come from ope​n-access sources.

Copyrighted materials are permitted in the Visual Resources Center because of the fair ​use​​ limitation to copyright protection, which allows them to be used for purposes that are educational and non-commercial in nature. Because of fair use, instructors may show these images in the classroom, and students may use them to illustrate their own class assignments. ​However, publishing these images in a book or posting them on an unrestricted website is not considered fair use.​

Digital Collections

Artstor on JSTOR

Artstor Collections on JSTOR contain more than 2 million images covering the arts, architecture, the humanities, and the social sciences. JSTOR Forum allows the University of Delaware to integrate its own local content into JSTOR. Our Institutional Collection, UD Art History: Visual Resources Center, contains more than 100,000 images that are available only to UD users in JSTOR.​​

Connecting t​o Artstor on JSTOR

All current University of Delaware faculty, staff, and students have access to the digital collections in JSTOR. After registering for an account , you can log in either directly on the JSTOR website or through the UD Library website. More information is available at JSTOR Support.​

Use of the Collections

All images from the Visual Resources Center are intended solely for teaching and research purposes at the University of Delaware, and may not be reproduced or published in any form.

Michelangelo Buonarroti painting
Michelangelo Buonarroti, Study of a Nude for the Sistine Chapel Ceiling, 1510-1511, Cleveland Museum of Art. (Photograph provided by the Cleveland Museum of Art, www.clevelandart.org)​
Painting entitled Shahnama of Shah Tahmasp looks like people meditating in an outside garden area with purples
Attributed to Sultan Muhammad, Shahnama of Shah Tahmasp (folio 22v), ca. 1525, Metropolitan Museum of Art, New York. (Photograph provided by The Metropolitan Museum of Art, New York, www.metmuseum.org)​​​
Artwork entitled "Utagawa Hiroshige, Sudden Shower over Shin Ohashi Bridge and Atake"
Utagawa Hiroshige, Sudden Shower over Shin Ohashi Bridge and Atake, 1857, Art Institute of Chicago. (Photograph provided by the Art Institute of Chicago)

Location

Visual Resources Center

​Department of Art History
University of Delaware
211 Old College
Newark, Delaware 19716

Telephone: 302-831-1460

Emailvisualresources@udel.edu

Hours of Operation

Monday to Friday

9:00 am to 5:00 pm​​

The Visual Resources Center is closed evenings and weekends, as well as all University holidays, observances, and breaks.

Staff

Derek D. Churchill

Director, Visual Resources

211A Old College

Telephone: 302-831-1460

Emailddc@udel.edu


 

Opportunities for Students​

The Visual Resources Center offers a variety of opportunities for University of Delaware students:

  • Undergraduate Work-Study Positions (students must be eligible for work-study)
  • Undergraduate Internships in Visual Resources Management
  • Graduate Research Assistantships (Department of Art History graduate students only)​

For more information about any of these opportunities, please contact the Visual Resources Center at visualresources@udel.edu​.

Equestrian Figure, 13th-15th century, National Museum of African Art
Malian (Inland Niger Delta), Equestrian Figure, 13th-15th century, National Museum of African Art, Smithsonian Institution, Washington. (Photograph provided by the Smithsonian, www.si.edu)​​
1899 platinum print entitled Blessed Art Thou Amount Women by Gertrude Kasebier
Gertrude Käsebier, Blessed Art Thou among Women, 1899, platinum print, Los Angeles County Museum of Art.​ (Photograph provided by the Los Angeles County Museum of Art, www.lacma.org)​

New Digital Image Order Form

When ordering images, please bring the book or other image source to the Visual Resources Center, and fill out a New Digital Image Order Form for each request. This form can be typed in, saved, printed, and emailed, so you can submit your order electronically to visualresources@udel.edu or by hand to the Visual Resources Center.

Production of New Digital Images

University of Delaware faculty members may request the production of up to 50 new digital images per semester. Unused image requests may not be transferred to another individual or another year. However, staff time permitting, the Visual Resources Center will attempt to fulfill additional image requests. The Visual Resources Center no longer makes 35 mm slides.

Descriptive metadata (basic identifying information, such as artist, title, date, and location) in English must be included with all orders, including those taken from unlabeled personal slides or photographs.

Please allow at least 2 weeks for an order of up to 50 new images. In an emergency, up to 10 images may be ordered with 48 hours' notice.

University of Delaware graduate students may use Visual Resources Center equipment to produce their own images during our normal hours of operation. For after-hours scanning, the Student Multimedia Design Center in Morris Library has scanners available for student use.

All new images produced by Visual Resources Center staff become the property of the Visual Resources Center, and are made available to the University of Delaware community through Artstor's JSTOR Forum.

All new images produced by the Visual Resources Center are intended solely for teaching and research purposes at the University of Delaware, and may not be reproduced or published in any form. 
 

DIY Digitization

For those wishing to make their own images, the Visual Resources Center has hardware and software available to assist members of the University of Delaware community with their digital projects. Our staff is here to help you get started, answer your questions, and offer additional guidance.

Image Quality

A digital scan is only as good as the source image from which it is taken, so you should always try to find the highest-quality illustrations. This often means the largest illustrations, because those usually have the most detail and will look best when zooming in. You should not be surprised when a scan from a small illustration looks bad on the big screen.

Image Capture: Digital Camera or Scanner?​

This is largely a question of personal preference. When using comparable equipment, there should be no real difference in quality between a camera and a flatbed scanner. Digital cameras can be faster, but they can also be more expensive.

File Format: TIFF or JPEG?

TIFF and JPEG are the two most commonly used file formats for still images. TIFFs are larger, more stable files that are ideal for maintaining a primary copy of your images. JPEGs are smaller, more nimble files that are suitable for everyday use in presentations and on websites. TIFFs are lossless, meaning that you can make changes to them without any degradation in the quality of the image. JPEGs are lossy, so every time you resave an image in this format it degrades slightly.

The VRC recommends that you save your images as uncompressed TIFFs and then make compressed JPEG copies of them for daily use. Scanning only JPEGs can be faster and easier in the short term, but it may end up causing you problems sometime down the road. TIFFs will take up considerably more memory than JPEGs (so you may need to invest in an external hard drive or cloud storage to hold them), but if done correctly, you should not have to rescan the same images in the future. However, you will still need both formats, because TIFFs are generally too large and slow to work in a PowerPoint presentation or on a web page. An imaging application like Photoshop can make derivative JPEGs from your TIFFs automatically.

Image Size: Pixel Dimensions

Usually, the most important factor in the quality of a digital image is the number of pixels it contains, because that determines what level of detail it can achieve. This is most commonly expressed in the image's pixel dimensions (width by height) or, particularly in digital cameras, megapixels (width times height divided by 1,000,000).

The VRC recommends producing ​TIFFs that are 3,000-4,000 pixels on the long dimension and making derivative JPEGs that are at least 1,920 pixels on the long dimension. You can make even larger TIFFs, but unless you are working with original objects, you probably will not be able to capture very much more detail that way. Most of our classroom projectors now display 1,920 ​​pixels (width) by 1,200 pixels (height), so there is no real benefit to using JPEGs any larger than that in your presentations.

Resolution (DPI/PPI)

DPI stands for Dots Per Inch, which is really a printing term. The proper term to describe images viewed on a computer screen is actually PPI, or Pixels Per Inch, but the two terms have come to be used interchangeably. As a ratio, PPI or DPI is used to translate an image from analog to digital format and back. The PPI of an image is less important than its pixel dimensions in determining overall image quality, so you may want to adjust the PPI to achieve your target pixel dimensions. For example, scanning a 10-inch photo on a flatbed scanner at 300 PPI will produce a 3,000-pixel image, while you would have to scan a 5-inch photo at 600 PPI to attain the same 3,000-pixel dimension. Note also that PPI is irrelevant when using a digital camera, because the size of the camera's sensor (in pixel dimensions/megapixels) determines how large the image will be.