(Geboren: Rotterdam, 1619; Gestorben: Amsterdam, 31 July 1693). Dutch painter, art dealer and appraiser. He was thought for a long time to have been born in 1622, but H. E. van Gelders important archival research established the artists correct place and date of birth. Kalf came from a prosperous patrician family in Rotterdam, where his father, a cloth merchant, also held municipal posts. In the late 1630s he travelled to Paris and spent a long time in the circle of Flemish artists in St Germain-des-Pres, Paris. In Paris he painted mostly small-scale rustic interiors and still-lifes. Kalfs rustic interiors are dominated by accumulations of buckets, pots and pans and vegetables, which he arranged as a still-life in the foreground (e.g. Kitchen Still-life, Dresden, Gemäldegal. Alte Meister). Figures usually appeared only in the obscurity of the background. Though painted in Paris, these pictures belong to a pictorial tradition practised primarily in Flanders in the first half of the 17th century by such artists as David Teniers (ii). The only indications of their French origin are a few objects that Flemish exponents of the same genre would not have incorporated into their works. Kalfs rustic interiors had a major influence on French art in the circle of the Le Nain brothers. The semi-monochrome still-lifes Kalf produced in Paris form a link with the banketjes or little banquet pieces painted by the Dutch artists Pieter Claesz., Willem Claesz. Heda and others in the 1630s. During the course of the 1640s Kalf developed the banketje into a new form of sumptuous and ornate still-life ( pronkstilleven), depicting rich accumulations of gold and silver vessels. Like most still-lifes of this period, these were usually vanitas allegories.

(Geboren: Königshutte, Upper Silesia [now Chorzow, Poland], 8 Feb 1801; Gestorben: Gleiwitz [now Gliwice, Poland], 23 Aug 1863). German sculptor. At the age of 15 he was apprenticed at the Königliche Eisengiesserei in Gleiwitz, where he soon began sculpting cast-iron plaques. In 1819 Johann Gottfried Schadow summoned him to Berlin, where he was instructed in chasing by Coue and worked in the Berlin Eisengiesserei. In 1821 he transferred to the studio of Christian Daniel Rauch. Following Rauchs example and under his influence, Kalide produced such large animal sculptures as the Resting Lion and the Sleeping Lion (several casts, e.g. zinc, 1824; Berlin, Schloss Kleinglienicke). From 1826 to 1830 Kalide worked on equestrian statuettes, including those of Frederick William II (zinc), after the model by Emanuel Bardou (1744/1818), and Frederick William III (e.g. cast iron; both Berlin, Schloss Charlottenburg, Schinkel-Pav.). In 1830 he became a member of the Berlin Akademie. His most popular works included the life-size bronze group Boy with a Swan (1836), which was installed on the Pfaueninsel in Berlin as a fountain (several casts, all untraced). Kalide achieved wide recognition and aroused violent controversy with his almost life-size marble figure Bacchante on the Panther (1848; Berlin, Schinkelmus., badly damaged). This work transgressed the accepted boundaries of classical art, above all in the figures provocative pose, and was perceived as shocking. In its uninhibited sensuality and its blending of the human and the animal, it offended the conservative Berlin public, and consequently Kalide received few new commissions. He had no success with competition designs and became increasingly embittered. He spent his last years at Gleiwitz, where he died.

(Geboren: Garwolin, nr Warsaw, 15 April 1944). Polish painter, sculptor, performance artist and film maker. He trained as a painter at the Academy of Fine Arts in Warsaw (1965/71) under Stefan Gierowski. His ritual actions organized in streets in Warsaw attracted the attention of critics and passers-by. Carefully planned to avoid the appearance of a happening, they reflected Kalinas concern with a number of artistic and social issues. In 1977 Kalina created The Passage (sculptures now at Wroclaw, N. Mus.), a monument to an anonymous pedestrian: for a week on the pavement at a crossroads in Warsaw he placed life-size, grey figures of people going up and down an imaginary subway and intermingling with real crowds. He also joined other artists in boycotting state-organized artistic events and took part in independent exhibitions held in churches, such as Apokalipsa Swiatlo w ciemnosciach (Apocalypse light in the darkness), held in the church of the Holy Cross in Warsaw in 1984. In 1986 he made the tomb of Father Jerzy Popieluszko (Warsaw, St Stanislaw Kostka), the priest murdered in 1984 by the Polish secret police. Subsequent works included a performance of his play Pielgrzymi i tulacze (The pilgrims and the exiles) in 1989 at the Studio Art Centre in Warsaw, the installation Cathedral and the performance Welcome to Poland (1991; London, Serpentine Gal.).