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NYMPH (Nimfa)

100%
Rutkowski K.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 3(286)
152-159
EN
The Nymph is associated with the choreography of desire and death which Aby Warburg described as the stylisation of energy or figures of the lushness of life. The Nymph renders struggle erotic, and reveals unconscious bonds between aggression and desire. For this reason Warburg was interested in the motif of violence, abduction, the erotic chase or the 'erotic victory' of the Nymph over her wounded opponent (Judith by Botticelli, Death of Orpheus by Mantegna or Dürer). The Nymph is an erotic force, and the battle is fierce due to the cruelty of Eros. Not only does the Nymph concentrate the strife in her body but she also becomes an amorous confrontation, a knot of desires. In doing so, she turns into a Maenadis succumbing to Dionysian frenzy.
2

NYMPHE (WIND). DER RAUM ZWISCHEN MOTIV UND AFFEKT IN DER FRUEHEN NEUZEIT (ZUGLEICH EIN BEITRAG ZUR ABY WARBURG-FORSCHUNG)

61%
Baert B.
ARS
|
2013
|
vol. 46
|
issue 1
16 -42
EN
The presence and importance of the nymph in the late medieval and early modern art goes beyond the fashionable adaptation of a classicizing motif. None less than Aby Warburg (1866 – 1929) was the one who developed a passion for the godly girl, wandering to the bucolic springs and caves, whose name etymologically refers to a "bride". However, it isn't the iconographic afterlife of the nymph that is addresses by this study, but the question of her visual identity in the early humanism. This question opens a discourse on a movement and wind in visual media, on the effect of the nymph on the viewer and on the (self-) reflection of the visual arts, especially painting.
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