Anatol Herzfeld

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Anatol's workshop, expansion 1982, Museum Insel Hombroich

Anatol Herzfeld (usually just as Anatol occurring), bourgeois Karl-Heinz Herzfeld (* 21st January 1931 in Insterburg , East Prussia ; † 10. May 2019 in Moers , North Rhine-Westphalia ), was in Neuss -lance sculptor . He mainly worked with wood, iron and stone. His place of work was the Insel Hombroich Foundation .

As a student of the Düsseldorf artist Joseph Beuys , Anatol orientated himself closely to the artistic ideas of his teacher. In particular, the concept of the expanded concept of art was also reflected in a special way in Anatol. Talking, telling stories and simply working with your bare hands were a focus of Anatol's work. He made particular reference to current political and social issues.

Live and act

Anatol was born as Karl-Heinz Herzfeld in 1931 in Insterburg, East Prussia, out of wedlock to a very young mother. She gave him to a foster family, where he grew up as a child of Bible parents. His foster father, whom he always regarded as his "father", was a staunch social democrat. Towards the end of the Second World War , the family fled from the Polish and Soviet troops to West Germany because the "liberation" they had hoped for did not materialize. Here, in the Rhine region, Karl-Heinz Herzfeld began an apprenticeship as a blacksmith (art blacksmith ). From 1953 to 1991 he worked in the police service as a traffic policeman. His work as a civil servant, which he mainly spent with a puppet show program in schools, left him time for studies. Anatol defined itself through a loose list of professions, memberships, qualifications, hobbies and qualities. One of them is handed down as follows:

“Anatol is a trained farrier; therefore / he wears a hoof nail in his hat. / When asked about his profession, / he gives the following to the record: Sculptor / painter, draftsman, puppeteer, blacksmith, / storyteller, fisherman, caricaturist, / warrior, master student by Beuys, / now master, co-founder of the 'Academy / Oldenburg ', pub brother, CDU member, / police officer. "

- Gerd Winkler : sorry, March 1976

This was not only due to Anatol's unwillingness to be categorized, but also to his deliberate play with journalists and all those who confronted him with questions for himself. Only rarely did he answer a question directly; he usually packed the answer into extensive stories in which he jumped from one topic to the next and which often had a strong autobiographical note.

Guard in front of Anatol's house, Museum Insel Hombroich

He came into contact with Joseph Beuys through two friends, Norbert Tadeusz and Peter Heisterkamp ( Blinky Palermo ). Anatol then studied sculpture between 1964 and 1972 for eleven semesters at the Düsseldorf Art Academy under Beuys. In order to acquire a second personality as an artist, he called himself Anatol, after a figure from Tolstoy's War and Peace . He then studied four more semesters with Karl Wimmenauer ( architecture ). According to his own statements, Anatol undertook to study at Wimmenauer in order to get a closer understanding of the space and its design beyond the sculptural aspect.

On December 5, 1968, Anatol performed the drama Stahltisch / Handaktion (corner action) with Beuys, Joachim Duckwitz, Ulrich Meister and Johannes Stüttgen in the Düsseldorf trendy bar Cream Cheese : Anatol, who had positioned a steel table he had developed in the middle of the restaurant, was sitting in a corner in front of a control panel. Beuys was standing in another corner. The three “speakers” Duckwitz, Meister and Stüttgen sat on steel chairs at the steel table, their wrists strapped to the table with steel brackets. Herzfeld controlled a light signal with the control panel that was built into the table. Green meant that the buckled actors should speak, while red meant they should be silent. Meanwhile, Joseph Beuys was making hand movements in his corner.

In 1971 Anatol organized a symbolic birth campaign for his teacher Beuys in front of the Kunsthalle Düsseldorf , during which he slipped out of a giant cocoon with the support of Beuys and his childhood friend, the poet Adam Rainer Lynen.

After Joseph Beuys had been dismissed by the then Science Minister Johannes Rau , Anatol wanted to “do something that also draws the attention of people who do not know the exact context. What it's like to push a good teacher out of an important position. ”Anatol got a 30-meter-long poplar trunk, which he and his helpers worked on in September 1973 on the terrace of the Kunsthalle Düsseldorf. This is how the dugout canoe The Blue Wonder was created . With this, Anatol crossed the Rhine on October 20, 1973 with Joseph Beuys and other volunteers. The journey started on the banks of the Oberkassel district and ended on the opposite side, at the level of the art academy. From there it went to the pub Ohme Jupp , one of the hangouts of the Düsseldorf art scene at the time. The (unofficial) 200th anniversary of the art academy was then celebrated in the pub on Ratinger Straße, a few meters from the art academy, together with the “homecoming of Joseph Beuys”. The press that accompanied the action generated a lot of media coverage. The “home collection”, which “went down in German art history as a myth-shrouded Fluxus campaign ”, did not take place back in the lap of the art academy, but back in the community of art students. Heribert Brinkmann speaks of a "counter-demonstration" in this context. The art academy only came into play when a ring talk took place there in room 20, the Beuys class, on October 22, 1973 from 3 p.m. in a wooden ring made by Anatol. In an announcement flyer handwritten and reproduced by Anatol for the campaign, one reads about the "fetching home":

“The blue miracle sails on 20th October 1973 / across the Rhine. On 20. X. 1973, around / 1500 o'clock from the left Rheinkniebrücke - / arrival Schlossturm. Then 24 hours / 200 years of the Düsseldorf Art Academy in / 'Ohme Jupp' Ratinger Strasse. / You are cordially invited / Your Anatol "

The working hours “Das Blaue Wunder” are one of those actions of Anatol in which his close ties to his teacher Joseph Beuys were shown.

Grave of Anatol and Heico Herzfeld, Nordfriedhof Düsseldorf (2019)

In October 1975 Anatol co-founded the Free Academy Oldenburg , based on the Free International University founded by Beuys . From 1979 to 1981 he had a teaching position at the State Art Academy in Düsseldorf. Until his retirement he worked full-time as a police officer in Düsseldorf . Anatol had been working on the grounds of Museum Insel Hombroich since the early 1980s . Here, according to his specifications, a residential and work house based on the model of Eastern European farmhouses was built. The entire area around this building, including the works on it, was the property of Anatol. It was recorded in his will that the area passed into the possession of the Insel Hombroich Foundation upon his death and that it should be left as it was at the time of death.

Anatol Herzfeld was married to Erdmute (Misi) Herzfeld. Anatol commemorated his son Heico, who died in 1976 in a motorcycle accident at the age of 17, by signing his work with "ANATOL-HEICO" from then on - well into the 1980s. He died with his family and friends in Moers and was buried in the Nordfriedhof Düsseldorf in May 2019 .

Artistic activity

Anatol's oeuvre ranges from drawings to etchings, painting, to multiples , so-called board pictures and sculptural works (sculptures) made from a wide variety of materials. The repertoire of forms changed over the years, which can be seen primarily in the large sculptures. Preferred materials were stone, wood and steel, with wooden sculptures being created mainly before 1990, which changed from around this time in favor of steel work. First of all, there are many 'usable' works in Anatol's work, such as chairs and tables. Later, its guards dominated artistic production.

working time

Anatol coined the concept of working hours through his campaign Königsstuhl, a ton of steel (1969) in the Mönchengladbach Museum . On the occasion of documenta 5 in 1972 he performed together with his artist friend Bertram Weigel under this title.

A manifesto-like text written by Anatol was published in the catalog for documenta 5 in Kassel, which was intended to conceptualize working hours for the first time. There it says:

“WORKING TIME // If a person looks at a working person, if he does this / deliberately and consciously, he makes deep contact. / He becomes an employee // a fellow man // he is trapped. // Why are so many shapers (artists) hiding, are they like / magicians? I don't mean the good, important magician of / early man, no, the later ones who always give us such wonderful / hours of lulling! Show yourself, come out / out of the Deuterbude! // Isn't it a nasty thing about today's, often planned / people, to withhold the visual experience of an emerging form of any kind. // Anyone can be there with me, and even touch them. / Those who can draw well can and may also give signs. // Work is art // Art is work // These are the little thoughts about working hours. // Düsseldorf, February 16, 1972 "

- Anatol

In the period that followed, his concept of working hours changed in some key points without this being explicitly written down in a new theoretical text. The idea was derived from Beuys' call for art and life to be brought together. However, where Beuys was to a large extent theoretician and metaphysician, also with a tendency towards self-presentation, Anatol remained the down-to-earth worker. The idea of ​​creating, creative people, which largely corresponded to Beuys' artistic conception, drove Anatol to equate art and work: "Art = work and work = art" . The work is thus to be regarded as art over a defined period (working time) already in the process (plastic process) . In addition, according to Anatol, this could also be extended to everyday life and even conventional work or services. Police service was therefore also an art for him. As a result, his daily working hours often exceeded the regular 8 hours. Not infrequently he worked 12 or 24 hours. His concept of work thus also included the characteristic of physical exertion. He equated ordinary work and art. Anatol explicitly understood working hours as an extension or alternative to the terms of action , happening or performance . In this term of art he included the participation of the viewer. As an integral part of the working time , the viewer can "give signs" himself, that is, participate in the work process. According to Anatol, the actual subject of his art emerges only in the interplay of production and reception.

Directly related to this is Anatol's request that the artists step out of the private sphere of the studio and present themselves to the public. As a consequence of his own demands, Anatol began to increasingly present his own art, his artistic creation , for public discussion. Works of art were produced by him in public, that is, exhibited in the process of making. The viewer was given the opportunity to enter into a dialogue with Anatol. In addition, representatives of the press were and are specifically invited to numerous working hours of Anatol, which means that many actions are recorded in images, text, film and video.

  • The Parliament (1991), Museum Insel Hombroich

  • The Parliament (1991), Museum Insel Hombroich

  • Working hours church (1988), Museum Insel Hombroich

  • Working hours church (1988), Museum Insel Hombroich

Free Academy Oldenburg

Anatol's concept of founding a Free Academy in Oldenburg went through several stages. It started with his exhibition Visiting Aunt Olga in Dangast , which took place from February 14, 1975 to March 2, 1975 at the Oldenburger Kunstverein . In the restaurant Theilen , near Varel in Friesland, Anatol made a drawing as a founding document in February of the same year , which he and the Oldenburg sculptor Eckart Grenzer signed as the founders of the “Moorakademie”. According to another source, Anatol, Dr. Ummo Francksen, chairman of the Oldenburger Kunstverein, Don Lenzen from Düsseldorf and Eckart Grenzer the founders. The name "Akademie Oldenburg" was adopted shortly afterwards and was used as a second name until around October 1976. Subsequently, the "Academy" was renamed the Free Academy Oldenburg on Beuys' initiative , as he recognized many parallels to his Free International University in the concept . Later a "foundation stone" was made, which was placed in the bottom of the Jade Bay in front of the Kurhaus in Dangast.

The Free Academy Oldenburg has neither premises nor an administration. Nor was it ever conceived with the aim of ever getting buildings or other solid structures. Rather, it should be nothing more than the idea of ​​an artistic activity. Anatol said that everyone was free to carry out an action on behalf of the Free Academy Oldenburg . While the Anatolian concept of an art academy is characterized by the characteristics of immateriality and fiction, Beuys had called for a real restructuring of the training system at art academies. Due to the resistance of the North Rhine-Westphalian state government to his ideas of changing the academic training of artists, Beuys also started political initiatives, such as the project of the German Student Party , and founded a Free International University (FIU) , at which in its own buildings after the Beuys 's concept should be taught. Its conception was similar to that of the state higher education system, and a state-recognized degree should also be made possible. Anatol's Free Academy Oldenburg, on the other hand, did not aim at any state recognition - it is exempt from any ballast, such as buildings, administration and formal degrees.

  • Easter Egg (2006), Museum Insel Hombroich

  • Easter egg in spring, Museum Insel Hombroich

  • Anatol's work in Hombroich

  • Anatol's work in Hombroich

Awards / prizes / honors

Exhibitions (selection)

Working in public space

Working in Germany

Dream ship Aunt Olga , 1977
Head Joseph Beuys , 2008 in Meerbusch-Büderich: originally selected as a site where the city is on the left bank of the Rhine in Dusseldorf-Oberkassel, where Anatol on 20 October 1973 on the terrace of the Kunsthalle Dusseldorf crafted dugout called The Blue Wonder had used to that action repatriation of Joseph Beuys as a crossing over the Rhine on the right bank of Old town bank in the amount of the Dusseldorf Art Academy in protest against the dismissal of his teacher by the then science minister Johannes Rau conduct had rejected the culture committee of the city Dusseldorf year of 2008.
  • Königsstuhl (1969), steel chair in the abbey garden, Mönchengladbach, installed in 1982
  • Die Jade (1975), Dangast , Jadebusen , lead plates, colored (this plastic was irreparably damaged as a result of the ice drift)
  • Traumschiff Tante Olga (1977), Kassel , set up for documenta 6 in Karlsaue , today in front of the Heinrich Schütz School
  • Die Neue Jade (1979), Dangast, Kunststoff (This version replaced the damaged work Die Jade )
  • Ring talk (1980), on the site of the former Kartause-Hain-Schule on Borbecker Straße, Düsseldorf-Unterrath
  • Hearing, Seeing, Speaking (1985), rock, on the campus of the Robert Schumann University of Applied Sciences in Düsseldorf in front of the Partika Hall
  • Chair of the finial a throne for nature (1985) , Remscheid , Alleestraße
  • Iron plaque "All people are equal before the law" (1985), covers the stone imperial eagle with swastika on the facade of the police headquarters, Düsseldorf
  • so-called Die Schule (1986), memorial stone for the Chinese teacher Cha Fu, stone from the Maggia valley surrounded by northern boulders, Museum Insel Hombroich , Neuss
  • The Church (1988), 30 boulders, Museum Insel Hombroich, Neuss
  • Der Schützen (1990), Neuss-Holzheim am Schützen- und Ständebaum
  • Triptych (Jesus tied up, framed vs. accusers, Pilate and Caiaphas), 1991, crypt in St. Agnes Church , Cologne
  • The Parliament (1991), 27 steel chairs, Museum Insel Hombroich, Neuss
  • Eisenmänner / Wächter (1993), 9 steel sculptures, Museum Insel Hombroich, Neuss
  • Eisenmänner / Cyberneticist (1996), 12 steel sculptures, IFM-GEOMAR, Kiel-Wellingdorf (east bank in the Schwentine estuary)
  • Marktredwitz-Tor (1999), Marktredwitz, Engerland-Platz
  • Die Wächter der Goitzsche (2000), Bitterfeld , Goitzsche , 10 iron men, 2.10 m tall, around a large boulder,
  • The Guardians of the Children (2002), Viersen
  • Partnership stone Calau-Viersen (2003), Calau
  • Head Joseph Beuys (2008), Rheindeich Meerbusch-Büderich,
  • Der Wächter (2010/2011), sculpture in Selm-Bork, memorial for NRW police officers who perished on duty; erected in 2011.

Working abroad

  • Great House (2004), South Korea, Busan
  • Heilkunst (2005), Austria, Graz
  • Democracy , Suriname, Paramaribo, National Assembly building

Literature (selection)

Catalogs

  • Anatol: Working 1983 to 1993 - Jesus Christ must make us friends. Gerhart-Hauptmann-Haus, Düsseldorf 1994.
  • Anatol: Anatol - Exhibition in the Rottweil Art Forum. Rottweil 1980.
  • Anatol: My life; new pictures on lead. March 14 - April 30, 1986. Galerie Vömel, Düsseldorf 1986.
  • Anatol: Anatol - Memento mori - pictures, sculptures, objects and works on paper and cardboard. An exhibition by the Association of Friends and Patrons of the Ratingen City Museum. Catalog for the exhibition from June 11 to August 20, 1995. Ratingen 1995.
  • Anatol: Anatol for the 75th birthday. April 28 - June 30, 2006. Galerie Alex Vömel, Düsseldorf 2006.
  • Anatol: Working hours “The lead house”. Exhibition “Lead Works” from April 23 to May 31, 1987. Germanisches Nationalmuseum, Nuremberg 1987.
  • Anatol: Visiting Aunt Olga in Dangast. Oldenburger Kunstverein from February 14th to March 2nd, 1975 in the Kleiner Augusteum, Oldenburger Kunstverein, 1975.
  • Jacek Barski (Ed.?): Lovis Corinth Prize 1992 of the artists' guild: Karl Heinz Herzfeld - Anatol, Friedrich Sieber, Ursula Doerk. Exhibition of the award winners, Museum Ostdeutsche Galerie Regensburg, November 14, 1992 to January 10, 1993, Regensburg 1992.
  • Manfred Boetzkes (Ed.?): Anatol: Pictures 1979–1984. Exhibition organized by the Roemer- und Pelizaeus-Museum, Hildesheim 1984.
  • Heribert Brinkmann, with contributions a. a. by Ingeborg Gottschalk: Anatol: Lebenszeiten Arbeitszeiten; Museum Bochum for the exhibition SPUREN seek - lay - read ANATOL from March 17th to May 6th 2001. Foundation Insel Hombroich, Neuss 2001.
  • Heribert Brinkmann, community Jüchen (Ed.): Garzweiler - Anatol and his student (Dieter) Patt show pictures of Garzweiler. Museum Kunst Palast Düsseldorf, Neuss o. J.
  • Karl-Heinz Hering : Anatol - pictures a. Sculptures 1965–1985; Working time. Art Association for the Rhineland and Westphalia, April 20 - June 2, 1985, Düsseldorf 1985.
  • Dieter Honisch: One-room exhibitions 1974. (With Morales, January 24 - February 24, 1974; HA Schult, March 1 - 31, 1974; Koenitz, April 10 - May 5, 1974; Anatol, July 18 - 1. September 1974; Kuwayama, September 6 - October 6, 1974; Sandback, October 10 - November 10, 1974; Uecker, January 20 - January 26, 1975), Essen 1975.
  • Michel Ruepp: Anatol - nature and technology. Museum Bochum, March 21 - May 3, 1987, Bochum 1987.

items

  • Christiane Dressler: Anatol, the man who came from the East - for the artist's 70th birthday. In: Art Time. 1. Schuffelen, Pulheim 2001, pp. 64-73.
  • Friedhelm Mennekes: “I make pictures out of this stranger”. Anatol in conversation with Friedhelm Mennekes. In: Art and Church. 49, 1986, pp. 154-158.
  • Dagmar van Oeffelen: traffic jasper with carpenter hat - Anatol, a phenomenon of metamorphosis. In: New Rhineland. 45, 4, 2002, pp. 12-13.
  • Marie-Luise Otten: Some comments on Anatol. In: The couch grass. 65, 1995, pp. 80-81.
  • Marie-Luise Otten, Ursula Mildner: Anatol and Ratingen - a conversation. In: The couch grass. 65, 1995, pp. 82-87.
  • Alice von Richthoven: Reduced clarity of form - Anatol is 70. In: Düsseldorfer Hefte. 46, 1, 2001, pp. 14-15.

Representations

  • Renate Buschmann: Chronicle of a non-exhibition: between (1969–1973) in the Kunsthalle Düsseldorf. Berlin 2006.
  • Heiderose Langer: The Ship in Contemporary Art. An iconographic analysis . Art History in the Blue Owl, Vol. 9. Essen 1993.
  • Petra Richter: With, next to, against; Joseph Beuys's pupils. Düsseldorf 2000.
  • Johannes Stüttgen : The whole thing: the appearance of Joseph Beuys as a teacher; the chronology of events at the Düsseldorf State Art Academy 1966–1972. Edited by the Hessisches Landesmuseum Darmstadt. Cologne 2008.
  • Maren Ullrich: Divided views: memory landscape of the German-German border. Berlin 2006
  • Hans-Ulrich Wiese: Holy Saturday existence: dealing with Holy Saturday in liturgy and modern art. Image - Space - Celebration: Studies on Church and Art, Vol. 1. Regensburg 2002.
  • Hans-Ulrich Wiese: Shine in my heart's shrine: reflections and sermons on the way to God. Aesthetics - Theology - Liturgics, Vol. 49. Berlin / Münster 2009.

Web links

Commons : Anatol Herzfeld  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Art world mourns the sculptor Anatol , rp-online.de, accessed on May 12, 2019
  2. ↑ Beuys student Anatol († 88) is dead: “My working hours are over”. Retrieved May 13, 2019 .
  3. ^ ART Galerie Scheel , biography of Anatol Herzfeld
  4. ↑ a b Brinkmann 2001.
  5. ↑ Gerd Winkler (1976): "Alle Lieben Anatol". In: pardon , No. 3, March 1976, pp. 114-120; here p. 120; a comparable list can be found in the December 1976 issue of Gerresheimer Reports magazine . A magazine from and around Oldenburg , No. 4, December 76 - January 77, p. 27.
  6. ↑ See Brinkmann, 2001.
  7. ↑ u. a. Catalog Cologne (1972): Anatol. Working hours at Onnasch . Onnasch Gallery Cologne; Catalog Oldenburg (1975): Anatol. Visiting Aunt Olga. Oldenburg Art Association. Oldenburg; Catalog Baden-Baden (1976): Wood is synthetic material. Kunsthalle Baden-Baden. Baden-Baden; Catalog Hagen (1979): Anatol. Results 64-78. Karl-Ernst Osthaus Museum, Hagen.
    It is interesting that in almost all catalogs after 1980 the exact semester numbers are no longer given. In an article in the Westdeutsche Zeitung from July 6, 1970 ( in the context of 'Art in the building': all children shouted loud Hippy-Fisch. Anatol Herzfeld in Untereicken. Author abbreviation: cj) it is mentioned that Anatol was at this point in time (July 1970) in the fifth semester of architecture with Hans Hollein .
  8. ↑ With regard to his studies, Anatol occasionally mentioned studying philosophy. It is unclear whether this involved participation in seminars and lectures or a (advanced) degree. The only determinable print source is a short article by Horst Morgenbrod: Conversation with the action artist Anatol Herzfeld. “Each of us is king”. In: The gate . Journal of the Düsseldorf Jonges. Neuss, No. 12/1985, pp. 40-42; here p. 40.
  9. ↑ Uwe M. Schneede: Joseph Beuys: The actions. Ostfildern-Ruit 1994, pp. 216-218.
  10. ↑ Götz Adriani , Winfried Konnertz , Karin Thomas : Joseph Beuys. DuMont; New edition, Cologne 1994, ISBN 3-7701-3321-8 , p. 100.
  11. ↑ Götz Adriani, Winfried Konnertz, Karin Thomas: Joseph Beuys. DuMont; New edition, Cologne 1994, p. 122.
  12. ↑ Anatol in conversation with Heribert Brinkmann in: Brinkmann 2001, p. 112.
  13. ↑ Brinkmann 2001, p. 46. In an edition of the Kunstforum International from 1973 you can find the following note: "At most with Spoerri or Ohme Jupp an artist can be seen to a limited extent today." ( Kunstforum International. 1973. Vol. 4–5 , P. 58).
  14. ↑ Brinkmann 2001, p. 112f.
  15. ↑ The sculptor Anatol Herzfeld died. deutschlandfunkkultur.de, published and accessed on May 13, 2019.
  16. ↑ Brinkmann 2001, p. 46.
  17. ↑ Götz Adriani, Winfried Konnertz, Karin Thomas: Joseph Beuys. New edition. DuMont, Cologne 1994, p. 137. The discussion was under the topic Art is there for everyone .
  18. ^ Hans-Ulrich Wiese: Holy Saturday existence; Dealing with Holy Saturday in liturgy and modern art. Regensburg 2002, p. 170.
  19. ↑ cf. the recognizable signatures z. B. in catalog Kunstverein Düsseldorf: Anatol - pictures and sculptures - 1965–1985 - working hours. Düsseldorf 1985.
  20. ^ Günter Meißner in: Saur general artist lexicon. the visual artists of all times and peoples = The artists of the world. Vol. 3: Alvarez - Angelin. Saur, Munich a. a. 1992, p. 331 and Renate Buschmann: Chronicle of a non-exhibition: between (1969–1973). in the Kunsthalle Düsseldorf. Berlin, p. 78f.
  21. ^ Catalog Kassel (1972): Documenta 5: Survey of Reality, Imagery Today. Kassel, June 30th to October 8th 1972, Neue Galerie Schöne Aussicht, Museum Fridericianum Friedrichsplatz. Documenta u. a., Kassel.
  22. ^ Catalog Kassel (1972): Documenta 5. Survey of Reality, Pictorial Worlds Today. Kassel, p. 16.89; Note: There is no author's name in the catalog. The text is inserted in the column below the biography of Anatol. In later catalogs the authorship is always attributed to Anatol. The slashes in the text clarify the setting of the text in the catalog. A single forward slash marks a line break, and two slashes indicate a new paragraph.
  23. ↑ See the relevant literature on Joseph Beuys.
  24. ↑ a b website of the free academy Oldenburg
  25. ↑ a b buthjata.de: The Free Academy Oldenburg ( Memento from August 8, 2010 in the Internet Archive )
  26. ↑ eckart Grenzer.de: Eckart Grenzer's website: 1975 · FREIE AKADEMIE OLDENBURG.
  27. ↑ Oeffelen, Dagmar van (2002): “Verkehrskasper with carpenter hat. Anatol - a phenomenon of metamorphosis ”. In: Neues rheinland, 2002, Vol. 4, pp. 12-13; here p. 12; Kunstforum International, No. 136 1997, p. 18.
  28. ↑ Kunstforum International, No. 136 1997, p. 18.
  29. ^ "Police service is art" - exhibition for "Schutzmann Anatol" ( memento from July 17th, 2012 in the web archive archive.today ) on www.artefacti.de from February 1st, 2011, accessed on May 20th, 2011.
  30. ^ Frankfurter Kunstverein: Beuys in Frankfurt. In: Frankfurter Rundschau . and anvil for Mrs. Mao's knife. In: Frankfurter Stadtanzeiger. From November 4 and 6, 1976 ( PDF file ).
  31. ^ Museum Ratingen: Anatol. Works from the Gertz Collection. From March 16 to August 24, 2014.
  32. ↑ Rolf Purpar: Art City Düsseldorf: Objects and monuments in the cityscape . Grupello-Verlag, Düsseldorf 1996, ISBN 3-89978-044-2 , p. 14, PDF file in the grupello.de portal , accessed on February 17, 2013.
  33. ↑ Brinkmann 2001, p. 37
  34. ↑ GEOMAR Annual Report No. 61, 1996, p. 7
  35. ↑ Partnership stone Calau-Viersen
  36. ↑ ( Page no longer available , search in web archives: http://busanbiennale.org/eng/index.php?pCode=MN2000169&mode=view&idx=6391 )@1@ 2Template: Dead Link / busanbiennale.org
  37. ↑ LKH-Univ.Klinikum Graz Sculpture group "Heilkunst" ( Memento from May 13, 2019 in the Internet Archive )
  38. ↑ Moerser on an art tour in Suriname , on rp-online.de
  39. ↑ Kunstenaars overhand “Trias Politica” aan voorzitter DNA , on dna.sr
  40. ↑ UNIEKE TENTOONSTELLING "THE JOURNEY TO SURINAME"
personal data
SURNAME Herzfeld, Anatol
ALTERNATIVE NAMES Herzfeld, Karl-Heinz
BRIEF DESCRIPTION German sculptor
DATE OF BIRTH January 21, 1931
PLACE OF BIRTH Insterburg
DATE OF DEATH May 10, 2019
Place of death Moers