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Books on the topic 'Nymphets in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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1

Pupilla: Metamorfozy figury drapieżnej dziewczynki w wyobraźni symbolicznej XX wieku. Gdańsk: Wydawnictwo słowo/obraz terytoria, 2014.

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2

Bramberger, Andrea. Die Kindfrau: Lust, Provokation, Spiel. München: Matthes & Seitz, 2000.

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3

Nymphs. London: Seagull, 2013.

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4

Monet, Claude. Claude Monet, Nympheas: Impression, Vision. Zürich: SV International, 1986.

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5

Les nymphéas, la nuit. Paris: Scala, 2010.

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6

Rey, Jean Dominique. Monet, les nymphéas: L'intégralité. Paris: Flammarion, 2008.

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7

Rey, Jean Dominique. Monet, les nymphéas: L'intégralité. Paris: Flammarion, 2008.

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8

1840-1926, Monet Claude, ed. Les nymphéas: Monet grandeur nature. Paris: Hazan, 2010.

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9

Claude Monet "Nymphéas": Eine Annäherung. Hildesheim: G. Olms, 1985.

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10

L'adieu au paysage: Les nymphéas de Claude Monet. Paris: Différence, 2008.

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11

Lambert, Stéphane. L'adieu au paysage: Les nymphéas de Claude Monet. Paris: Différence, 2008.

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12

Regards sur les Nymphéas de Paul Claudel à André Masson. Paris: Réunion des musées nationaux, 2006.

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13

Hoog, Michel. Musée de l'Orangerie: Les nymphéas de Claude Monet. 3rd ed. Paris: Réunion des musées nationaux, 2006.

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14

Volk, Peter. Ludwig Schwanthalers Sinnende Nymphe: Eine romantische skulptur. München: Bayerisches Nationalmuseum, 1998.

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15

1887-1961, Košvanec Vlastimil, and Museo Martinengo Villagana, eds. Vlastimil Kosvanec (1887-1961): Le ninfe moderne = modern nymphs. Milano: Skira, 2011.

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16

Bathyzōnos: Zur Jungfräulichkeit in der Antike : die tiefgegürteten Nymphen : Archäologie - Philologie - Soziologie. Nordhausen: Verlag Traugott Bautz, 2015.

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17

Lawton, Terry. Nymph fishing: A history of the art and practice. Mechanicsburg, PA: Stackpole Books, 2005.

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18

Angelo, Walther. Von Göttern, Nymphen und Heroen: Die Mythen der Antike in der bildenden Kunst. Leipzig: Ed. Leipzig, 1993.

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19

Andreas, Hiepko, ed. Nymphae. Berlin: Merve, 2005.

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20

Ernst, Max. Max Ernst: Im Garten der Nymphe Ancolie. Basel: Museum Tinguely, 2007.

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21

Ninfe nel mito e nella città dalla Grecia a Roma. Milano: Viennepierre, 2009.

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22

Monet, Claude. Monet: Le cycle des nymphéas : catalogue sommaire : 6 mai-2 aout̂ 1999, Museée national de l'Orangerie. Paris: Réunion des musées nationaux, 1999.

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23

Taylor-Foster, James. Monet: Colour in Impressionism. United Kingdom: James Taylor-Foster, 2011.

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24

"Nympha ad amoenum fontem dormiens" (CIL VI/5, 3*e): Ekphrasis oder Herrscherallegorese? : Studien zu einem Nymphenbrunnen sowie zur Antikenrezeption und zur politischen Ikonographie am Hof des ungarischen Königs Matthias Corvinus. Stuttgart: Ibidem-Verlag, 2005.

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25

Roswitha, Juffinger, and Mayr-Oehring Erika, eds. Grenzenlos weiblich in barocken und antiken Darstellungen: Residenzgalerie Salzburg, 18.11.1999-6.2.2000. Salzburg: Residenzgalerie, 1999.

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26

Berns, Jörg Jochen. Die Jagd auf die Nymphe Echo: Zur Technisierung der Wahrnehmung in der Frühen Neuzeit : Frühgeschichte der Zeitung, Akustik, Bildstrategeme, Praecinematik, Automatisierung. Bremen: Edition Lumière, 2011.

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27

Claude Monet, Nymphéas (en français). Hazan, 1999.

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28

Noble, Marty. Cupids, Cherubs and Nymphs. Dover Publications, 2003.

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29

Monet, le cycle des Nymphéas. Réunion des musées nationaux, 1999.

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30

Stephens, Timothy, Nelson Blanton, and Ebony Mciver. AOI Ink Nymphs Los Angeles. Schiffer Publishing, Limited, 2016.

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31

1956-, Galitz Robert, and Reimers Brita 1949-, eds. Aby M. Warburg: "ekstatische Nymphe--trauernder Flussgott" : Portrait eines Gelehrten. Hamburg: Dölling und Galitz Verlag, 1995.

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32

Les Nympheas avant et apres: Paris, Musee de l'Orangerie, 27 octobre 1992-25 janvier 1993. Distribution, Seuil, 1992.

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33

Les Nymphéas avant et après: Paris, Musée de l'Orangerie, 27 octobre 1992-25 janvier 1993. Paris: Réunion des musées nationaux, 1992.

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34

Purkiss, Diane. At the Bottom of the Garden: A Dark History of Fairies, Hobgoblins, Nymphs, and Other Troublesome Things. NYU Press, 2001.

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35

Purkiss, Diane. At the Bottom of the Garden: A Dark History of Fairies, Hobgoblins, Nymphs, and Other Troublesome Things. NYU Press, 2003.

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36

Saylor, Eric. Arcadia. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041099.003.0003.

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The Greek province of Arcadia is perhaps the most important locus for pastoralism in a classical context. Arcadian inhabitants such as shepherds, nymphs, and the god Pan play significant roles in both literary and musical contexts, and they can be expressed in an array of settings—not all of which are themselves classical. One such manifestation is “Merrie England,” an amalgamation of tropes and images drawn predominantly from the Elizabethan era and popular among the Victorians and Edwardians. Musical evocations of that site reveal important aspects of how idealized pastoral settings reflected Britons’ view of their own society at the height of empire.
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37

Angelakis, Emmanouil, and Didier Raoult. Tick-borne rickettsial diseases. Oxford University Press, 2011. http://dx.doi.org/10.1093/med/9780198570028.003.0010.

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Bacteria of the genus Rickettsia belong to the family Rickettsiaceae in the order Rickettsiales and have for long been described simply as short, Gram-negative, strict intracellular rods that retain basic fuchsin when stained by the method of Gimenez (Raoult and Roux 1997). These bacteria are associated with ticks, lice, fleas or mites. To date the Rickettsia genus contains 24 recognized species classified into three groups based on their antigenic, morphological, and ecologic patterns: 1) the typhus group, 2) the spotted fever group and 3) Rickettsia bellii (Fournier and Raoult 2007). Most spotted fever group (SFG) rickettsiae are closely associated with ticks belonging to the family Ixodidae (also called “hard” ticks) (Parola et al. 2005). Ticks can act as vectors, reservoirs, and/or amplifiers of SFG rickettsiae and require optimal environmental conditions which determine the geographic distribution of the vectors and consequently the risk areas for rickettsioses. Many Rickettsia species are strictly associated with one genus of ticks and the transmittion to people is made through the tick bite, which generally implies that the Rickettsia can localize to their salivary glands. Therefore, since larvae, nymphs, and adults may all be infective for susceptible vertebrate hosts, the ticks must be regarded as the main reservoir host of rickettsiae. Humans are not considered as good reservoirs for Rickettsiae, as they are seldom infested with ticks for long periods and rickettsiaemia has normally short duration, especially with antibiotic intervention.
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38

Phillips, Tom. Untimely Epic. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198848561.001.0001.

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Apollonius Rhodius’ Argonautica is a voyage across time as well as space. The Argonauts encounter monsters, nymphs, shepherds, and kings who represent earlier stages of the cosmos or human society; they are given glimpses into the future, and themselves effect changes in the world through which they travel. Readers undergo a still more complex form of temporal transport, enabled not just to imagine themselves into the deep past, but to examine the layers of poetic and intellectual history from which Apollonius crafts his poem. Taking its lead from ancient critical preoccupations with poetry’s ethical significance, this book argues that the Argonautica produces an understanding of time and temporal experience which ramifies variously in readers’ lives. When describing the people and creatures who occupied the past, Apollonius extends readers’ capacity for empathetic response to the worlds inhabited by others. In the ecphrasis of Jason’s cloak and the account of Jason’s conversations with Medea, readers are invited to scrutinize the relationship between exempla and temporal change, while climactic episodes such as Jason’s battle with the Earthborn and the taking of the Golden Fleece explore links between perceptions and their temporal situation. Running through the poem, and through the readings that comprise this book, is an attention to the intellectual potential of the ‘untimely’, objects, experience, and language which do not belong straightforwardly to a particular time. Treatment of such phenomena is crucial to the poem’s aspiration to inform and expand readers’ understanding of themselves as subjects in and of history.
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