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Copyright of Goethe-Jahrbuch is the property of Wallstein Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses partnership of the book artist Anja Harms and the sculptor Eberhard Müller-Fries to combine their experiences in an artistic collaboration on books and sculptures. It mentions exhibition of the genre of book and book sculpture art in museums and galleries and similar spaces. It mentions that Harms and Müller-Fries both independent of each other; she printing, he shaping and drawing; she with a focus on books, he with books as a possibility alongside his sculpture.

Copyright of Goethe-Jahrbuch is the property of Wallstein Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Opuscula Historae Artium is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Jahrbuch der Bayerischen Akademie der Schönen Künste is the property of Wallstein Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Zagreb Green Horseshoe, or Zelena potkova in Croatian, is an original urban evocation of the Ringstraße in Vienna that represents an effort to create a characteristic urban space during the era of Historicism. This distinctive 19th century urban project provided an appropriate setting for monuments and sculptural decoration. Squares, parks and main streets thus became a stage where contemporaries encountered monuments to personalities whose memory was to be preserved. The evocation of historical figures as a part of the collective memory is one of the fundamental ideas behind erecting monuments in any public place. Zagreb, as a national metropolis, favoured monuments dedicated to persons who recalled the nation’s glorious past and to highly regarded individuals, artists and poets. This paper focuses on thirteen monuments that were erected from 1866 to 1914 in this model part of the city and discusses issues related to the clients, the artists and the individuals to whom they were dedicated. The monuments that extend along the Zelena potkova can match the monuments on the Ringstraße, both examples are part of a common heritage from the reign of Franz Joseph I of Austria.

The Vienna Art Academy has always attracted budding artists from all over the Empire, especially after the reform in 1872. Similarly, the School of Arts and Crafts in Vienna played an important role from its foundation in 1867. It served as a model for such institutions in the crown lands, including Zagreb, Budapest and Prague. At the same time, the project of the Vienna Ringstraße, in which many professors from the academy were involved, offered the prospect of commissions. Still, the networks of sculptors in the capital and the crown lands during these decades have not been widely explored. This is not a matter of purely art-historical questions; rather, the national question plays an important role. An international group of researchers is now tackling these connections, a century after the collapse of the Austro-Hungarian Empire and decades after the partial division of Europe by the Iron Curtain.

The article discusses Sculptor, draftsman, book maker Peter Marggraf and the San Marco Hand press, which includes Peter Marggraf did described himself and his work in a kind of profile. This profile is something like a job description, an overview of his activities and, what is for which every day without work in the workshop is a lost one day is not surprising.

Copyright of Mainfränkisches Jahrbuch für Geschichte und Kunst is the property of Freunde Mainfraenkischer Kunst und Geschichte e.V. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mainfränkisches Jahrbuch für Geschichte und Kunst is the property of Freunde Mainfraenkischer Kunst und Geschichte e.V. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article reports on a graphic art by German painter Leo Leonhard (1939-2011) where one can see a man who is painting a wall on which famous figures from Italian sculptor Buonarroti Michelangelo's work are playing. He clings with one hand to a vertical, free-standing ladder that seems to have no end downstairs and he's not interested in what he's covering with his paint.

Copyright of Forschungen zur Volks- und Landeskunde is the property of Romanian Academy Publishing House / Editura Academiei Romane and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The life and works of the sculptor Alfred Reichel (1856-1927), who came from a family of Moravian ministers, are discussed largely chronologically. After leaving school early, Reichel attended the arts academies in Dresden and Berlin and spent time in Munich and Cologne before returning to Berlin in 1887 to enter Reinhold Begas' masterclass. In addition to his drawings as a pupil, more than fifty larger and smaller works can be definitely identified as his. Early in his career Reichel turned to historic figures of the Moravian Church, of whom he repeatedly sculpted busts or reliefs. Participating in competitions, and rare commissions for memorials (Neuwied, Lissa, Berlin), helped to make him more widely known but hardly earned him a living. The bestowal on him of the title of Professor on the occasion of the unveiling of the memorial in Neukölln, Berlin, in 1912 would perhaps have given him a breakthrough, had war, revolution and inflation not prevented this. Reichel supplemented his modest income with models for craft products such as porcelain figures and figurative lampstands. Reichel did not achieve lasting significance as a sculptor. With his historical subjects he was concerned to achieve authenticity as far as possible. For this he obtained templates from the archives and chose his models conscientiously. Works for a sacred setting form no part of Reichel's oeuvre. However, his countless works for, and commissions from the milieu of, the Moravian Church have preserved his memory within his church, to which he retained his connection throughout his career as an artist. [ABSTRACT FROM AUTHOR]

The article discusses the construction and contracting of the cathedral of Cologne, Germany during the turn of the 19th to 20th century in particular as it regards the contact and cooperation between the competing sculptors Alexander Iven (1854-1934) and Peter Kribben (1851-1927). The two sculptors are known to have collaborated in St. Urusula, Germany before, according to church archives, collaborating on the medieval cathedral in Cologne. Specifics objects of their collaborative work include the Baroque altar of the dome, the renovation of the tomb of bishop Wilhelm von Gennep (d. 1362), and the tomb of bishop Walram von Jülich (d. 1349).

The article presents a profile of the life and works of the painter and sculptor, Emil Wachter, on the occasion of his 90th birthday. The article discusses his family background, his study of theology, and his decision to study at the art academy in Karlsruhe. Examples of his works are pictured, such as the ceiling painting of St. Martin's church in Ettlingen, Germany, the Autobahnkirche church in Baden-Baden, Germany, and the stained glass window in St. Josefs-Kirche church in Hornum, Germany.

In front of the famous Golden Dachl in Innsbruck, the sculptor Gregor Türing formed around a bay window a frieze with four scenes: two foot soldiers with pipe and tabor; three court musicians with trumpet, crumhorn and cornet; dancing peasants with shawm and bagpipe; and three chamber musicians with viola da braccio, lute and flute. These four ensembles represent the idea of profane music in the early Renaissance Tyrol. [ABSTRACT FROM AUTHOR]