8 books for « elizabeth a martin »Edit

‎A DICTIONARY OF LAW.‎

‎Oxford university press.. 1997.. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur acceptable. 515 pages. 1ère de couverture illustrée en couleurs. Nombreuses traces de marqueurs dans le texte.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎Texte en anglais. Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎Elizabeth Franzheim.‎

‎Galerie D'art International. Paris 1981. In-4 relié (27,8 x 22,4 cm), jaquette illustrée, 206 pages. nombreuses reproductions en noir et en couleurs.- 1140g. - ETAT NEUF.‎

4 Images

‎Corpus Rubenianum Ludwig Burchard, vol. 11.3Corpus Rubenianum Ludwig Burchard, vol. 11.3, Mythological Subjects, Paris to Venus‎

‎Turnhout, Brepols, 2025 2 vols, 976 p.175 x 260 mmIllustrations:224 b/w, 91 col. . ISBN 9781915487636.‎

‎One remarkable feature of European culture as it developed in the Renaissance was the accommodation it made with ancient paganism. The classical gods and their legends were allegorised, transformed into symbolic figures or emblematic scenes that might accord with Christian morality. At the same time there emerged a new, secular, genre of art devoted to the depiction of the most popular myths, above all the love stories recounted by the ancient poets. These stories were not only attractive in themselves; they offered the opportunity to depict nude figures in narrative action, which the example of antiquity held forth as the highest goal for painting. Rubens was one of the greatest creators of classical allegory; he was also a supreme interpreter of the classical stories. No painter was so at home in the literature of the Greeks and Romans. When he painted for pleasure, which, increasingly in the course of his life, he felt able to do, he used pagan myth to express and celebrate themes of love, beauty and the creative forces of nature, often in wonderfully idiosyncratic ways. Still, as a Christian committed to the ideals of the Catholic Reformation, Rubens respected the restrictions generally placed on the depiction of pagan tales. Most of his mythological paintings were made for private settings, for display within houses (including his own) or in the galleries of princes, noblemen and prelates. It is a happy accident of history that so many of these splendid paintings are now widely visible in the great museums of the world. TABLE OF CONTENTS Volume One Preface Catalogue Raisonn - Paris and his Judgement of the Goddesses: Nos 101-106 - Phaeton?s Temerity and the Consequences: Nos 107-108 - Philemon and Baucis: No.109 - Procris and Cephalus: No. 110 - Prometheus: No. 111 - Proserpina?s Abduction by Pluto: No. 112 - The Story of Psyche: Nos 113-114 - Satyr Subjects: Nos 115-120 - Silenus, with Bacchic and Rustic Companions: Nos 121-129 - Venus: Her Loves and her Worship: Nos 130-139 - Vertumnus and Pomona: No. 140 - Rejected Attributions: Nos R1-5 Volume Two List of Figures Figures Bibliography Indexes I: Collections II: Subjects III: Other Works by Rubens Mentioned in the Text IV: Names and Places Sources of Photographs‎

‎5 x .‎

‎(Düsseldorf, Ateliergemeinschaft Ratherstr. 25, ca. 1983). 21,5x21,5 cm. 5 signierte Originalarbeiten (Zeichnungen, Collagen) Lose in Kartonhülle.‎

‎Erschien wahrscheinlich als Vorzugsausgabe der Publikation "Ateliergemeinschaft Ratherstr. 25".‎

‎Hercules to Olympus Part XI, 2: Mythological Subjects Hercules to Olympus / 2 volumes.‎

‎, Brepols - Harvey Miller, 2023 hardcover with dusjacket, 2 vols, 946 pages.Size:175 x 260 mm Illustrations:450 b/w. Language(s):English. ISBN 9781912554867.‎

‎One remarkable feature of European culture as it developed in the Renaissance was the accommodation it made with ancient paganism. The classical gods and their legends were allegorised, transformed into symbolic figures or emblematic scenes that might accord with Christian morality. At the same time a secular space was created in art for the depiction of the most popular myths, above all the love stories recounted by the ancient poets. These stories were not only attractive in themselves; they offered the opportunity to depict nude figures in narrative action, which the example of antiquity held forth as the highest goal for painting. Rubens was one of the greatest creators of classical allegory; he was also a supreme interpreter of the classical stories. No painter was so at home in the literature of the Greeks and Romans. When he painted for pleasure, which, increasingly in the course of his life, he felt able to do, he used pagan myth to express and celebrate themes of love, beauty and the creative forces of nature, often in wonderfully idiosyncratic ways. At the same time, as a Christian committed to the ideals of the Catholic Reformation, Rubens respected the restrictions generally placed on the depiction of pagan tales. Most of his mythological paintings were made for private settings, for display within houses (including his own) or in the galleries of princes, noblemen and prelates. It is happy accident of history that these splendid paintings are now widely visible in the great museums of the world.‎

‎LO?NGMAN DICTIONARY OF 20th CENTURY BIOGRAPHY‎

‎Longman. 1985. In-8. Relié. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 548 pages. Texte sur 2 colonnes. Jaquette manquante.. . . . Classification Dewey : 423-Dictionnaire anglais‎

‎Consultant Editor: Asa Briggs. Classification Dewey : 423-Dictionnaire anglais‎

‎Courants de la psychanalyse contemporaine, sous la direction de André Green.‎

‎Revue française de psychanalyse, tome LXV, Presses universitaires de France, 2001. Un volume in-8°, broché.‎

‎Numéro hors série. [18283]‎

‎Elizabeth Franzheim.‎

‎2. Paris, Galerie d'Art International, 1981, small in-4°, 183 pp + bibliography, coloured and b/w ills., publisher's cloth with dustjacket, text in French. Nice copy. Monograph on this American paintress born in Chicago in 1923.‎