(Geboren: Trippstadt, 3 Dec 1911). German sculptor and medallist. From 1925 until 1929 he trained in Kaiserslautern as a stone-carver under the sculptor Karl Dick. His earliest commissions were for architectural sculpture, sometimes following designs by others. From 1934 to 1939 he studied at the Hochschule fur Bildende Kunste in Munich, where, under the influence of the sculptor Josef Henselmann (Geboren: 1898), he became familiar with the theories of Adolf von Hildebrand and began carving direct in stone and wood without the use of preliminary models. He also worked in stucco and cast iron. Among his commissioned works are many sculptures for public and private buildings, such as the statue of the Archangel Michael (1948; in situ) for the parish church of Manning, Niederbayern. In the early 1950s he began producing cast medals and plaquettes, the models for which he carved in negative, and these were to make him one of Germanys foremost 20th-century medallists. His first official medal (bronze, 1952), for the Bayerische Akademie der Schönen Kunste, Munich, has the geometric forms and sharp-edged lettering that are a feature of his medallic work. The Hambach medals of 1982, celebrating the sesquicentennial of the Hambach Festival, Rheinland-Pfalz, show the influence of earlier 20th-century German medallists such as Ludwig Gies. From 1950 until 1975 he taught stone-carving at the Akademie der Bildenden Kunste, Munich.

( fl second half of the 5th century BC). Greek sculptor. Almost nothing is known of his life. He probably came from Corinth since, according to Vitruvius (On Architecture IV.i.9/10), Kallimachos invented the Corinthian capital (presumably before its earliest known use in uncanonical form at BASSAI). His technical abilities were also displayed in the golden lamp (late 5th century BC) he made for the Erechtheion in Athens, which burnt for a year without refilling and had a chimney in the shape of a palm (Pausanias: Guide to Greece I.xxvi.6), i.e. a hollow column with an Aeolic reed capital, rare before the Hellenistic period (323/31 BC). Kallimachos technical punctiliousness may be the reason for his ancient nickname, katatexitechnos (he who pines away because of art; Vitruvius IV.i.10), given to him, according to Vitruvius, because of the subtlety of his work in marble. His care in drilling the stone led Pausanias to use a play on words, calling him kakizotechnos (he who spoils art; I.xxvi.7). Both nicknames occur in some manuscripts of Pliny the elder (Natural History XXXIV.xix.92), who implied that Kallimachos destroyed any grace in his work by the very pains that he took over it, referring specifically to his Lakonian Dancers. There may be echoes of this group (probably six girls wearing short chitons) in neo-Attic reliefs (e.g. Berlin, Pergamon-mus., see Blumel, no. K 184-5). Another group attributed to Kallimachos, six ecstatic Maenads, is preserved in numerous copies (e.g. Rome, Mus. Conserv.). They wear floor-length drapery skin-tight in places, of thin material that allows the bodies to appear as if nude; this style of drapery was the basis for the attribution to Kallimachos of the original of the Frejus Aphrodite (Paris, Louvre; see GREECE, ANCIENT, IV, 2(iii)(b) and fig. 59). The structure of this figure and the emphasis of the articulation of its limbs are wholly influenced by POLYKLEITOS and his followers. It has been called a laterally reversed female Doryphoros in the spirit of the first generation of followers, wearing close-fitting drapery, which is gathered in dense bunches of folds between the legs and at the side, as in the Landsdown/Sciarra Amazon of Polykleitos. The original of the Frejus Aphrodite stood in Troizen, and Kallimachos seems to have been one of the followers of Polykleitos.

(Geboren: Aigina; fl c. 500/450 BC). Greek sculptor. Inscriptions of ca. 500 BC show that he worked on the Acropolis of Athens as a young man. A bronzeworker, he is mentioned as a pupil of Tektaios and Angelion (Pausanias: Guide to Greece II.xxxii.5) and the contemporary of Kanachos (i) (Pausanias, VII.xviii.10). Coins from Troizen help to identify his xoanon (wooden statue) of Athena as the archetype for a marble copy in Madrid (Prado); its angular outlines and severe standing posture suggest a date for the original of ca. 470/460 BC. A contemporary marble Demeter (ca. 460 BC; Corinth, Archaeol. Mus.) is based on a bronze model that, along with an Aphrodite and an Artemis by Gitiadas ( fl first quarter of the 5th century BC) of Sparta, decorated three tripods in Amyklaion, south of Sparta. Kallon is also credited with the so-called Aspasia or Europa, probably made for Pylos, which was later depicted on Roman coins. The fragmentary marble Athena in Athens (Acropolis Mus. store) is presumably a copy of one of his bronzes.