Lubo Kristek

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Lubo Kristek (1997)

Lubo Kristek (born May 8, 1943 in Brno ) is a contemporary painter, sculptor and action artist of Czech descent. From 1968 to the 1990s he lived in exile in the Federal Republic of Germany. Much of his work is shaped by Surrealism and Abstract Expressionism and shows clear features of the fantastic realism of the Vienna School . He is one of the last remaining representatives of late Surrealism .

"Schlösschen Lubo" with piano on the roof

Live and act

Lubo Kristek: Metastation of Tones Left Behind (1975–76), Ruegers Castle

In the early stages of his career he lived and worked in the Bavarian Alpine foothills in Landsberg am Lech and Kleinkitzighofen . This time in exile was decisive for his artistic maturation process. In the later phase he works in the South Moravian region not far from the Austrian border. His artist workshop and gallery is located in Freistein an der Thaya ( Podhradí nad Dyjí ) in the Lubo Castle ( Zámeček Lubo ). Despite his advanced age, he still receives guests occasionally today (2015) to bring them closer to his life's work.

His work includes works from the fields of painting, sculpture and music. He gained international attention, among other things, through his artistic happenings , which he has been organizing from the 1970s to the present day. Without exception, all actions are accompanied by artistic artefacts or objects, some of which remain at the respective location and become part of art in public space .

Context of his work

"It is not presumptuous that Lubo Kristek is one of the few artists who have followed their creative calling for almost a lifetime and who have given particularly lasting impulses."

Lubo Kristek in the cemetery chapel, Penzing (1977)
Lubo Kristek in Augsburg (1974)

In the 1960s, Kristek lived in a shabby house, a former soap factory in Hustopeče (near Brno ), where he organized events that combined music, visual art, poetry, theater and improvisation. The testing of boundaries, experimentation and transgression of the conventional framework were very characteristic for him at the beginning of his work.

At that time he was experimenting with fire as a means of expression. It was his dialogue with the unpredictable. He deliberately suppressed or sometimes even canceled his artistic handwriting to allow the material to speak.

The cosmopolitan aspects of Kristek's work as well as his ability to bring in transcultural experiences are related to his emigration to West Germany in 1968. He had settled in Landsberg am Lech , where he lived and worked for almost three decades. It was also around this time that he started holding Kristek's night vernissages , which resulted in his happenings. The vernissage (and the entire exhibition) only lasted one night. Kristek's studio in Landsberg became his artistic melting pot.

“In dream and fantasy motifs Kristek places the creative aspect of the Freudian world of the unconscious and concrete irrationality in direct opposition to a one-sidedly rational, familiar and conventional world. Kristek also fulfills the basic principle of surrealism - the principle of the spontaneous emergence of form out of chaos, in which he listens to impulses that connect people with nature. Kristek opens the door to deep mental and natural sources. A certain unpredictability and seismographic activity emerges in his artistic work, which enables him to escape the controlled space. Kristek follows the idea of ​​the so-called Gesamtkunstwerk. "

- Barbora Půtová (2013)

Kristek toured Europe from Landsberg. He explored different countries and enjoyed wandering the countryside and meeting its people. These trips and explorations had a special meaning for him and gave him inspiration for his creative work and development.

In 1977 Kristek toured the west coast of the United States of America and Canada with his American cycle 77 .

Kristek's work attracted attention. The Munich magazine Applaus already mentioned some of his significant achievements in 1982:

“In Greifenberg there is a fountain of his hand, in Penzing he painted the fresco crosses in the cemetery chapel , and in the stairwell of the Ignaz-Kogler-Gymnasium in Landsberg, Kristek's tree of knowledge protrudes monumentally over the floors to the skylight. There are also sculptures in parks and gardens, reliefs and artistic decorations on and in many private homes. "

In 1989, after the Velvet Revolution , Kristek gradually returned to his home country (for a while he commuted back and forth between Germany, the Czech Republic and a few other countries, but never lost contact with Germany). He settled in Podhradí nad Dyjí . On the roof ridge of his studio, he set up a sculpture showing a piano balanced on one leg. The Czech writer Jaromír Tomeček unveiled the sculpture, and based on the title of the work of art, he named the entire rural neighborhood around the river Thaya Kristek's Valley of the Divine Transience of a Sound. The Minister of Culture of the Czech Republic, Václav Jehlička, wrote in this context:

“In his expression, Kristek balances on a fragile point where different styles and means of expression combine. One of his life symbols is exactly the same - a piano that rears up on one leg on the top of the roof of his studio in the Czech Republic. "

Kristek continued his happening activities. So far he has organized happenings in Germany, the United States of America, Canada, Italy, Spain, the Czech Republic, Austria, Turkey, Belgium and Slovakia. In the years 2005–2006 he created Kristek's Glyptothek in the Thayatal , a sculptural path from pilgrimage stations along the Thaya.

Sculptures, sculptures and assemblages

Lubo Kristek: Barbed Wire Christ (1983)
Lubo Kristek: Sea kavallo (1986)

One of Kristek's first works of art, Vision - Burning of Christ (1964), was created in the house in Hustopeče and shows how the artist tests materials and values. The first thing he did was create a realistic cast iron sculpture of Christ. Then he fixed it on a cross in a wooden construction and further deformed it with the help of flames. The melting material symbolizes the relativity of form and the relativity of melting belief in Kristek's homeland in the 1960s.

The sculpture The Soul (1977) is also one of Kristek's works of art made with flame. The sphere that dominates the tip is a symbol of the artistic legacy that Kristek inherited from his teacher and soul mate Arno Lehmann (German artist who lived in Salzburg, where Kristek visited him again and again).

The large-scale sculpture Tree of Knowledge (1981), which is described above, extends over three floors of the building and is an example of the harmonization of a sculpture with its surroundings, which Kristek later used in his landscape works. This work of art is highly regarded. The Munich magazine Steinmetz + Bildhauer wrote:

“Kristek has stretched ribbons made of chased precious metal over the wooden core. The fruits on the tree and the branches are also made of metal. (...) A closer and more evocative unity of art and construction is hardly conceivable. Where can you find anything comparable among the many examples from 12 years of art and construction from the Rhenish region? "

Kristek left his artistic footprint in the landscape of the Spanish coast of Cantabria . The assemblage Barbed Wire Christ (1983) is a compassionate relic of today's inhuman and rationalized world.

In 1986 he created the assemblage Meeres-kavallo from material that was washed up on the Italian coast . The horse is frozen in time, it has a skull instead of a head, but is also a symbol of the infinite movement of life and a representation of the galloping waves of both life and the sea.

Lubo Kristek: Monument to the Five Senses (1991), New City Museum
Lubo Kristek: The Seekers (2005-2006), Sekule

Kristek transforms his assemblages into a modern version of altars and tabernacles. An example of this is his assemblage Die Tragende (1969), which is the result of a long debate with his friend Eberhard Trumler (who was a student and colleague of the founder of ethology, Konrad Lorenz ) about the mechanisms of survival of a species.

His works of art usually exceed the given framework. For him, the assemblage is a platform for overcoming or expanding the boundaries of the defined area or the respective meaning. We can see this in the assemblages Family with the Invisible Man (1994), Harlequina and the Temptation (1994) and On the Garbage Pit of the Times (1994). In the last of the assemblages mentioned and in the assemblage Metastation of the Tones Left Behind (1975–1976) Kristek built cords, parts of musical instruments and strings. His “networks” have specific layers of meaning. These two works of art resonate thematically with the development of society (earlier) and with Kristek's personal life (later), making them unique mirrors.

The Monument to the Five Senses statue (1991) became one of Landsberg's attractions. In 2008 the Bavarian State Minister for Science, Research and Art wrote:

“The monument to the 5 senses that was erected in front of the New City Museum in 1992 - a three-meter-high hand with a nose, eye, ear and mouth - also deserves special attention. Because with it the artist reminds us every time we visit the museum that art appeals to all five senses and should be defended from with all senses. "

- Thomas Goppel (2008)

Kristek's craft skills are most evident in his metal sculptures, in which he applies a perfectly mastered technique.

“Kristek personally welds, grinds and chisels the sculptures in the manner of a medieval artist and craftsman. His free sculptures are in many ways a surrealist parallel to the picture canvases by the Czech painter Mikuláš Medek (1926–1974), the German painter Max Ernst (1891–1976) and the Spanish painter Salvador Dalí . This is evidenced by Kristek's metal sculptures, a monument to the five senses (1991) or Der Windharfenbaum (1992). "

In 2002 the artist turned his attention to the rise and fall of different faiths. In a very special way he showed the limits where faith becomes demagoguery and where its breaking point lies in the assemblage orgasms of various demagogues .

Kristek's assemblage In the Prematurely Cloned Age of a Planet (2003) offers an artistic reinterpretation of the human situation in a "flowing" age of globalization. The assemblage became the starting point for his happening Visio sequentes or About the prematurely cloned age of a planet , in which he developed his concept in a more dynamic and diverse form.

In 2007 Kristek presented a form of interactive assemblage when he created Requiem for the cell phone from cell phones. Then he turned the idea into a project that focuses on the addiction to hidden traps in modern society (Kristek addressed the subject of traps as early as 1976 in his assemblage Entlärmte Ästhetik des Luxuryensens ). He traveled from country to country and the assemblage changed its appearance with the help of the audience and their disused cell phones.

Between 2015 and 2017 Kristek created another pilgrimage site. He has converted his house in Brno into a monumental assemblage, which is thematically based on the myth of Sisyphus. Kristek's house has become a new attraction in Brno.

Kristek's Glyptothek in the Thayatal

The first sculptures and assemblages in the landscape pioneered one of Kristek's masterpieces in the 1970s: Kristek's Glyptothek im Thayatal , which he created between 2005 and 2006 . This sculptural path from pilgrimage stations runs through the Czech Republic, Austria and Slovakia, along the Thaya. The artist has combined the statues - in which he has achieved monumentality, craftsmanship and a spiritual orientation - in a pilgrimage dedicated to the river Thaya. This path contains eleven symbolic stations and became Kristek's landscape gallery. He invites those who want to see the statues to stroll through the countryside. This path offers the pilgrim a glimpse of his inner self and creates an additional dimension that contrasts with the dominant consumer lifestyle.

painting

Lubo Kristek: Aunt Fränzi's Himmelsautobahn (1974–75), New City Museum, Landsberg am Lech

Kristek has created a specific vocabulary in his paintings. You can assign certain “attributes” to your symbols. Looking at the evolution of the symbols' content enables a deeper understanding of his art. This symbology permeates the various media throughout his life's work.

The theme of the bridge and the street can be traced back to the 1970s in his paintings. The artist calls this road, which is mostly bordered by bridges and stretches into the unknown, “the sky highway”. This reflects the desire to make a pilgrimage to spirituality and to be connected to things that are bigger than us. The closer one is to knowledge, the closer one is to leaving the material world. Aunt Fränzi's oil painting Himmelsautobahn (1974–75), which is now part of the collection of the New City Museum, is an example of the time when this symbol was born in Kristek's mind.

Kristek is interested in the topic of communication (or failed communication) in the modern and postmodern era. The dying telephone in the painting The mossy telephone conversation (1978–1982) is a symbol of dwindling communication. The crucified one can be seen on one of the power poles on the Golgotha ​​made of rubbish.

The ballerina or the dancer is the central theme in Kristek's work. It is the dynamic aspect and vehicle of change. It represents the same form of dynamism in his happenings. Kristek's ballerina evolves over time and reflects the development of postmodern society. In the painting Billiard Game for Life and the Ballerina from 1987, she personifies vitality in a world of constant metamorphosis. Around 2010, however, the meaning of this symbol changes and the ballerina is now often the last witness to the destruction. In the happening The Way of the Cross (2014) the triune ballerina devours everything that is left of fate in the form of flames (the scene is followed by another of Kristek's motifs, rebirth). In the painting Strange Pole Vault (2016) the ballerina appears as death. It frees the world from the empty society of garbage.

Lubo Kristek: All-round high tension (1975–76)

Another of Lubo Kristek's lifelong symbols is the tree with two apples. The tree is bare like hope that rises from the ashes of wasted efforts of society. It can be found in the painting Die Waldimpression (1995), where it grows through an old wagon. It leads to another theme by Kristek, which is the coalescence or penetration of forms, as in the painting Suite for a Biophilic Piano Attacked by a Masochistic Tuba (1995).

“On many of Kristek's canvases, an expressively processed form of symbolism matured, in which every element of the composition is emphasized. Nothing occurs here by chance and everything is subject to the hidden contents. With the work of art he expresses inner psychological states and increases their expression by exaggerating the colors and shapes or by deformation. "

Happenings and performances

In 1971 Kristek's night vernissages were created and with them his happenings. Access to it was always free. These series of events significantly shaped his artistic views. Up to the present day they are considered a meeting place for sculptors, painters, musicians, poets, philosophers and the public. The prevailing mood became the "substrate of his work".

The magazine Collage described the first years of the night openings as follows:

“It's been 5 years since Lubo Kristek held his first night vernissage without financial support, and this year it's taking place for the fourth time. Artists from all parts of Germany, Canada, England and the USA meet there. They exhibit, celebrate, discuss and shake up garden dwarf ideologies. "

Lubo Kristek in Landsberg during the walk with the neurotic fox (1975)

These experimental actions are an intersection between theater, music, improvisation and ritual. The experiences of the moment are essential for Kristek. The happenings gradually became an independent part of his work. The motives of death, sickness in society and doom are counterbalanced by birth or rebirth, liberation from fetters and the growing together of forms.

In 1975 Kristek undertook a special action: he went for a walk on a colonnade in Landsberg with the skeleton of a fox on which the remains of dried-out skin and fur were still hanging. He studied the reactions of passers-by particularly carefully. He then documented this experiment with the name: Walk with the neurotic fox very precisely.

Kristek's events can be described in different ways ( happenings , performances or as site-specific ). But he always uses the expression "the happening" because the involvement of the public and the authentic expression are the most important aspects for him.

Sometimes the artist completely blurs the lines between the stage and the audience during the actions. At the climax of the happening Visio sequentes or About the prematurely cloned age of a planet z. B. he distributed the artists present, there were also mentally handicapped people among the audience. The audience was quite shocked and looked around uncomfortably. The people wanted to find out “who is who” or “who is not the normal here”. Kristek made viewers wonder where the limits are and whether they even existed. He didn't want the viewer to understand the situation, he wanted them to "experience" it. Kristek's goal is always to bring about a borderline situation. The liminality opens the path to transformation. The shocked or insecure viewer is freed from their own stereotypes and has the opportunity to redefine them from a distant point of view.

The magazine Medizin + Kunst analyzes Kristek's events as follows:

“We see allusions to Freudian psychoanalysis in that of his artistic processes. In his happenings and performances we can see various connections to Salvador Dali's so-called “Activité Paranoique Critique”, in which the artist has the opportunity to increase his extraordinary abilities in order to put himself in a trance-like state - all with a completely uncertain outcome. (...) In doing so, Lubo Kristek tries to open up new spaces, to make unknown strings vibrate in the mind of the beholder and, as the goal of his performances, to mentally overcome death through creativity and artistic intuition. "

Holographic perception

Lubo Kristek is not only looking for the authentic experience and sharing a common space with the audience. He continues in a specific way of perception, which he calls holographic perception. He organizes scenes in a non-linear form so that the course of the happenings is not a connected continuum. On the contrary, there are different actions that take place at the same time. According to his theory, a more plastic, holographic image forms in the minds of the viewer. The different layers of the scenes, as well as the layers of meaning, do not result in a destruction of perception, but in a sharpening and emphasis of the influence on the emotions, creativity and intuition of the viewer.

Successively layered transmedia work

Kristek's work with different techniques is not isolated. On the contrary, they are interconnected and sometimes form a network. In this way, Lubo Kristek produces a successively layered transmedial work. His work of art in one technique thus becomes a means of expression for a work of art in another technique. The complete work of art thus has its origin in a multitude of media. For example, his statue Pyramidae-Klipteon became a "prop" for the happening Pyramidae-Klipteon II (2002). Then the artist used the scene of the happening for one of the layers of meaning in his paintings In Captivity of the Secular Cathedral (2002–2003) and The Latent Spinning Flight into the Seventh Dimension (2003). He also incorporated a scene from his happening Conception through Time or Sarcophagus of Dreams (2001) into the second painting.

“Lubo Kristek is usually referred to as a surrealist, an artist who is able to see behind and beyond reality and who accentuates the dream as a natural component of reality. However, his inspirations go back to Bosch - the great painter of the 15th and 16th centuries often connects him with his point of view, his sense of the bizarre and bizarre details. A whole series of points of contact could be named - in the end we are always part of a natural chain and resultant of influences that circle around us and catch us in their magical waves. These are undoubtedly important integrations and it is worth dealing with them, but for our information the natural presence and topicality are important at this moment. All Kristek's activities are like that. They go far beyond the traditionally understood artistic creation, which to a certain extent arises in isolation and then reveals itself to the world. Kristek is about a process that not only enters the column “here is art”, but also seeps through in places where we would not expect art and where it amazes and fascinates us all the more. (...) We learn a new language with which one can describe the world and thus get closer to it. We need this very much. "

Works (selection)

4th stop at Kristek's Glyptothek in the Thayatal, Podhradí nad Dyjí
Lubo Kristek: Life (1971–72), Drosendorf Castle
Lubo Kristek: The Wind Harp Tree (1992), Pohansko Castle near Břeclav

Reliefs, sculptures and sculptures

  • 1964 Vision - Burning of Christ
  • 1968 Thaya - Fate of a Tree, wooden sculpture, 5th station of Kristek's Glyptothek in the Thaya Valley, Vranov nad Dyjí (Czech Republic)
  • 1971–72 Das Leben, wood relief, 3rd station of Kristek's Glyptothek in Thayatal, Drosendorf Castle (Austria)
  • 1973 Djabel - the devil, wooden relief, private property
  • 1974 Metapsychic forms, wooden sculpture
  • 1977 The soul, wooden sculpture
  • 1978 Relief from suffering, ceramics, 7th station of Kristek's Glyptothek in Thayatal, Znojmo near Louka Monastery (Czech Republic)
  • 1982 Tree of Knowledge, wood / metal, large sculpture, Ignaz-Kögler-Gymnasium, Landsberg am Lech
  • 1988 The Drinker, bronze fountain sculpture, Theresienbad Greifenberg
  • 1991 Monument for five senses, metal, New City Museum, Landsberg am Lech
  • 1992 The wind harp tree, metal, 9th station of Kristek's Glyptothek in Thayatal, Pohansko castle near Břeclav (Czech Republic)
  • 1994 Birth and damnation of the sphere, ceramics, 8th station of Kristek's Glyptothek in Thayatal, Hansenburg (Czech Republic)
  • 2005–6 The formation, metal, 1st station of Kristek's Glyptothek in the Thayatal, source of the Moravian Thaya, near Panenská Rozsíčka (Czech Republic)
  • 2006 The Seekers, plaster original, Kristek room, Ruegers Castle (Austria)
  • 2006 Stones of Desires, 2nd station of Kristek's Glyptothek in Thayatal, Staré Hobzí (Czech Republic)
  • 2006 Cosmic time division of parapyramidal potency, metal, large sculpture, 4th station of Kristek's Glyptothek in Thayatal, in front of the Lubo castle, Podhradí nad Dyjí (Czech Republic)
  • 2006 Kristek's Glyptothek in the Thayatal, various - art-philosophical pilgrimage along the river Thaya in 11 stations
  • 2015 Die Seekers - Organic Forms, Metal, 10th station of Kristek's Glyptothek in the Thayatal, confluence of Thaya and March (near Sekule municipality)

Assemblages

  • 1969 The flying one
  • 1969 The woman who wears it
  • 1973 Window of Sins
  • 1975–76 Metastation of the tones left behind, exhibited: Kristek-Raum, Palace Ruegers (Austria)
  • 1983 Barbed Wire Christ, Cantabria (Spain)
  • 1986 Marine kavallo, Rome (Italy)
  • 1989 Gloria, birth of the Homo Divinensus - Intelektes
  • 1975–92 Automatic trains of thought - table, exhibited: Schlösschen Lubo, Podhradí nad Dyjí (Czech Republic)
  • 1992 The door , this assemblage was created at the happening Raum der Seele (1992) in Landsberg am Lech
  • 1994 Exhibited at the garbage dump of the times : Kristek room, Palace Ruegers (Austria)
  • 1994 family with the invisible man
  • 1998 Frequency of the Senses, for Bursa Town Hall (Türkey)
  • 2000 Arachnologia Adé
  • 2001 conception through time
  • 2001 orgasms of various demagogues
  • 2003 In the prematurely cloned age of a planet
  • 2007 Prelude of Franz Liszt
  • 2007 Requiem for mobile phones
  • 2010 The last gate
  • 2010 EU 2010 - Sharp effort of a paraplegic bloody goblin
  • 2015–17 Kristek House , monumental assemblage, Brno (Czech Republic)

painting

  • 1974–75 Aunt Fränzi's Himmelsautobahn, oil on canvas, Neues Stadtmuseum, Landsberg am Lech
  • 1976 The absolute glass machine of life, oil on chipboard, private property
  • 1974 The persecution of the earth, Seccomalerei, Augsburg
  • 1975–76 High tension on all sides, oil on canvas
  • 1976 Critical Defloration of the Spirit, oil on canvas, private property
  • 1977 Common tensions with Akcent des "black holes", wall painting, Los Angeles (USA)
  • 1977 Embers - Life - Eternity, wall painting, San Francisco (USA)
  • 1977 Transcendental composition between suffering and hope, wall altar, chapel, Penzing
  • 1978–82 The Mossy Telephone Conversation, oil on canvas
  • 1995 Suite for a biophilic piano attacked by a masochistic tuba , oil on canvas
  • 1995 Forest impression, oil on canvas
  • 1976–2000 Where only the birds can go, oil on canvas, private property
  • 1996 Naděžda's accord in the landscape, oil on canvas
  • 2003 The latent spinning flight into the seventh dimension
  • 2003 The Desert Madonna, oil on canvas
  • 2009 Cemetery Sleeping Beauty , autoportrait

Happenings, performances

Individual evidence

  1. Age of the Avant-garde: Art and Society 1905–1955 - Klaus v. Beyme [1]
  2. Details from the portal: South Moravia.info
  3. Documentation (15 min. - Czech with other languages) [2]
  4. Neunzert 2008, p. 5.
  5. Daniel Smola: Moje Southern Moravia. In: Deník. August 24, 2016, p. 5 (Czech).
  6. a b c Půtová 2013, p. 21.
  7. a b c Neunzert 2008, p. 6.
  8. Jurgeleit 1986, p. 71.
  9. Půtová 2013, p. 28.
  10. a b c Schwabe 1977, p. 16.
  11. a b Půtová 2013, p. 13.
  12. American Cycle 77 , pp. 3-9.
  13. ^ Johanna Kerschner: Lubo Kristek in Landsberg. In: Applause: Münchner Kultur-Magazin. No. 12, 1992, p. 80.
  14. ^ Lubo Kristek: Happening-Schaffen im Thayatal , p. 13.
  15. Neunzert 2008, p. 4.
  16. ^ Lubo Kristek Channel
  17. Půtová 2013, p. 10.
  18. ^ Walter Etschmann: Art in building in Landsberg. In: Landsberger Tagblatt. November 11, 1981, p. 36.
  19. Půtová 2013, p. 32.
  20. ^ Art and Construction. In: Steinmetz + Sculptor. No. 5, 1982, p. 396.
  21. Půtová 2013, pp. 13, 15.
  22. Půtová 2013, p. 18.
  23. Půtová 2013, p. 8.
  24. Neunzert 2008, p. 3.
  25. Půtová 2013, pp. 27–28.
  26. Neunzert 2008, p. 24.
  27. Schwabe 1977, p. 13.
  28. Půtová 2013, p. 15.
  29. Půtová 2013, p. 120.
  30. Půtová 2013, pp. 26-27.
  31. Schlösschen Lubo , p. 27.
  32. Půtová 2013, p. 26.
  33. Sven Mueller: The artistic life of the sculptor: Lubo Kristek. In: Collage: magazine for literature and graphics. No. 3, 1976, p. 30.
  34. Barbora Půtová: Kristek Thaya Glyptotheque . Chapter Requiem for Mobile Telephones . Research Institute of Communication in Art, Brno 2018, ISBN 978-80-905548-3-2 (English).
  35. Půtová 2013, pp. 73–74.
  36. Johanna Kerschner: Mythological Landscapes Rooms of the Soul by Lubo Kristek. In: Medicine + Art: The art magazine for doctors in practices and clinics. No. 3, 1994, pp. 20-21.
  37. Půtová 2013, pp. 75, 148.
  38. Půtová 2013, pp. 80–81.
  39. ^ Václav Cejpek: A word for introduction. In: Lubo Kristek: Happening work in the Thayatal. P. 5.
  40. Published in Schwabe 1977, p. 8. Online
  41. Published in Půtová 2013, p. 43. Online
  42. 28th Great Swabian Art Exhibition 1976 . Professional Association of Visual Artists Swabia North u. Augsburg eV, Augsburg 1976, OCLC 718933480.
  43. Published in Schwabe 1977, p. 24. Online
  44. Published in Půtová 2013, p. 53. Online
  45. Published in Půtová 2013, p. 33. Online
  46. Circle of Friends of Municipal Museums - with a short biography [3]
  47. Published in Tzschaschel 2015, pp. 80, 81. Online
  48. Published in Neunzert 2008, p. 9.
  49. Published in Neunzert 2008, p. 12.
  50. Published in Půtová 2013, p. 37. Online
  51. Published in Neunzert 2008, p. 13.
  52. Published in Půtová 2013, pp. 40, 41. Online
  53. Published in Neunzert 2008, cover.
  54. Announcement of the work as PDF
  55. Published in Schwabe 1977, p. 11. Online
  56. Published in Schwabe 1977, p. 10. Online
  57. Published in Schwabe 1977, p. 12. Online
  58. Published in Půtová 2013, p. 12. Online
  59. Published in Půtová 2013, p. 14. Online
  60. Published in Neunzert 2008, p. 32.
  61. Published in Neunzert 2008, p. 30.
  62. Happening work in the Thayatal 2013, p. 6.
  63. Published in Neunzert 2008, p. 23.
  64. Published in Neunzert 2008, p. 36.
  65. Published in Neunzert 2008, p. 25.
  66. Published in Neunzert 2008, p. 31.
  67. Published in Neunzert 2008, p. 24.
  68. Published in Neunzert 2008, p. 35.
  69. Published in Neunzert 2008, p. 38.
  70. Published in Neunzert 2008, p. 39.
  71. Published in Půtová 2013, p. 131. Online
  72. Published in Půtová 2013, p. 174. Online
  73. Published in Schlösschen Lubo 2010, p. 49.
  74. Published in Půtová 2013, p. 33. Online
  75. Published in Neunzert 2008, p. 16.
  76. Published in Neunzert 2008, p. 17.
  77. Published in American Cycle 77 2011, p. 5.
  78. Published in American Cycle 77 2011, p. 4.
  79. Published in Půtová 2013, p. 33. Online
  80. Published in Neunzert 2008, p. 15.
  81. Published in Půtová, 2013, p. 166. Online
  82. Published in Půtová, 2013, p. 173. Online
  83. Published in Neunzert 2008, p. 20.
  84. Published in Neunzert 2008, p. 19.
  85. Published in Půtová 2013, p. 162. Online
  86. Published in Neunzert 2008, p. 21.
  87. Published in Půtová 2013, p. 169. Online

literature

Web links