MOJMIR SVATOPLUK FRINTA born 28 July 1922 in Prague, Czechoslovakia.

Mojmir Frinta 1922-2015
Links to obituaries:

Baccalaureate cum laude from Real Gymnasium in 1941. School of Graphic Arts and School of Applied Arts 1941 3. Art History at Charles University, B.A.equivalent 1947. In 1947 went on a Bourse d'echange du gouvernement Francais to Paris studied at the Academie Andre Lhote, Ecole Nationale des Beaux Arts (fresco and lithography), and Ecole du Louvre. Worked as an art restorer at the atelier Chauffrey et Muller. In 1951 went to the U.S. Studied history of art at the University of Michigan at Ann Arbor M.A. in 1953 and Ph.D. in History of Art in 1960.

The Beautiful Style in the Sculpture around 1400 and the Master of the Beautiful Madonnas.

On the staff of the Medieval Department at the Metropolitan Museum of Art in New York (senior restorer) 1955-63. Taught art history for 30 years at the State University of New York at Albany as Assistant Professor, Associate Professor, Professor (Byzantine and Medieval Art, Italian Early Renaissance, Early Netherlandish Painting). Since 1993 Professor Emeritus.

His major interest is Medieval and Early Renaissance painting.
He endeavours in his research to incorporate art technological findings into standard art historical approaches (stylistic and connoisseurship.) Most of the fifty articles were first presented at scholarly colloquia, symposia, and congresses and then published in the Acta and periodicals such as The Art Bulletin, The Art Quarterly, The Burlington Magazine, Pantheon, Mitteilungen des Kunsthistorischen Institutes in Florenz, Gesta, Simiolus, Umeni, Acta historiae artium, Zograf. A book The Genius of Robert Campin was published at The Hague in 1966.

Most of his research energies in the last thirty years were devoted to a new methodology involving the analysis of a distinctive decoration of gold surfaces in medieval panel paintings and illumination. Professor Frinta visited practically all repositories of medieval panel paintings (museums, galleries, churches) as well as many private collections in order to record in photographic life size details the elements of the punched decoration ("motif punches"). A result of this pursuit of all attainable documentation (made some 16.000 negatives) is a Catalogue of all punch shapes illustrated with more than 3.200 macro photographs. The second volume of this monograph contains the discussion of the history of this specific decorative procedure, organized by regions, art centers, and workshops. The punch repertories of the individual shops are determined and presented in Tables. The comparative method permits an objective evaluation of the present attributions, arguing in some cases for alternatives, and leads to the introduction of new personalities. Dr.Frinta spent two sabbatical years (1970 1 and 1977 8) in Florence researching Italian, mostly Toscan material and the third sabbatical in 1984 5 as a Senior Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington. The research project was also supported by two Research Grants of the National Endowment for Humanities, those of the Research Foundation, State University of New York, of the Samuel H.Kress Foundation, American Council of Learned Societies, American Philosophical Society; the publication of the Catalogue by The Getty Grant Program and Millard Meiss Publication Fund.



Born July 28th 1922 in Prague, Czechoslovakia; 1947 51 studied in Paris; married there in 1948 Irena Altmanova; three children; emigrated in 1951 to the United States; American citizen since 1956.

High school (Real Gymnasium), Prague 1933 41, Baccalaureate cum laude.
School of Graphic Arts and College of Applied Arts, Prague 1941 43 and 1945-7.
Karlova Universita (Charles University), Prague, B.A. equivalent 1947.
Ecole Nationale Supérieure des Beaux Arts, Paris, 1947 51.
Academie André Lhote, Paris 1947 48.
Ecole du Louvre, Paris 1949 51.
University of Michigan, Ann Arbor, 1952-55: A. M. in Fine Arts, June 1953. and
University of Michigan, PhD in History of Art, June 1960. (Dissertation: “The Beautiful Style in the Central European Sculpture around 1400, and the Master of the Beautiful Madonnas”).

Restorer of paintings, Chauffrey & Muller, restaurateurs des Musées de Fr ance, Paris 1949-51
Art Instructor at the Flint, Mich. Institute of Arts and the Flint Junior College 1951 52.
Assistant in the University Art Museum, University of Michigan 1953 55.
Senior Restorer in the Medieval Department and the Cloisters of The Metropolitan Museum of Art, 1955 63.
Seminar in Summer 1963 by the Institute of Fine Arts of New York University and the Institut Royal du Patrimoine Artistique in Brussels.
Assistant Professor, State University of New York at Albany 1963 65.
Associate Professor, SUNYA, 1965 69.
Professor of Art History, SUNYA, since 1969.
Visiting Teaching Professor at the Universita Karlova in Prague, Fall 1991.
Professor Emeritus at the University at Albany since 1993.

TRAVEL: Thoroughly familiar with art monuments and museums in both Western and Eastern Europe, including U.S.S.R., Near East, North Africa, and in the North American continent. Study sojourns in Florence during two sabbaticals, in 1970 71 and 1977 78.

Spoken: Czech (mother tongue), French (fluent); German, Italian.
Reading knowledge: Latin, Spanish, Slavic languages.

Bourse d'Echange du Gouvernement Français, 1947 48.
Entr'aide Universitaire Française, 1948 50.
H. Rackham Graduate Fellowship, University of Michigan, 1953 55.
Metropolitan Museum of Art Staff Travel Grant, 1960.
Fellowship of the Belgian American Educational Foundation, 1963.
Grant in Aid of the American Philosophical Society, 1963, 1964.
Faculty Fellowships and Grants of the Research Foundation, State University of New York, 1964, 1965, 1966, 1968, 1971, 1973, 1974.
Grant in the Slavic and East European Studies of American Council of Learned Societies, 1968.
Research Grant from the Samuel H. Kress Foundation, 1970.
Travel Grant from the American Council of Learned Societies, 1972.
Research Grant of the National Endowment for the Humanities, 1977 78.
Travel Grants from the College Art Association, 1979, 1983.

Research Grant of NEH (Research Tools Program), 1982 84.
Travel Grant of the Comite Conjunto Hispano Norteamericano para Asuntos Educativos y Culturales, 1983.
Senior Fellow at the Center for Advanced Study in the Visual Arts, Washington, 1984 85.
Fulbright Research Fellowship for Yugoslavia, 1985 (resigned).
Travel Grant from the Samuel H. Kress Foundation, 1985.
Fulbright Research Fellowship for Yugoslavia, Summer 1987.
Travel to Collections Grant, NEH 1988.
Faculty Research Grant, Research Foundation of State University of New York, 1988.
Publication Grant of the Getty Grant Program, 1992.
Publication Grant of the Millard Meiss Publication Fund, 1993.
Grant from Samuel H. Kress Foundation, 2000

College Art Association, Archaeological Society of America; International Center for Medieval Art; Intern. Institute for the Conservation of Works of Art; Medieval Academy of America; Czechoslovak Society of Art and Sciences in America.

Symposium on the Conservation of Wall Paintings at the Institute of Fine Arts, New York
University, October 1962.
College Art Association of America Annual Meeting in Los Angeles, January, 1965.
Fourth Conference on Medieval Studies, the Medieval Institute, Western Michigan University,
Kalamazoo, Michigan, March 1968.
XXII International Congress of History of Art, Budapest, September 1969.
Symposium on The Year 1200 at the Metropolitan Museum of Art, March 1970.
Fifth International Congress on the Conservation of Paintings and the Graphic Arts, Lisbon,
October 1972.
Eight Conference on Medieval Studies, Western Michigan University, Kalamazoo, April 1973.
XXIII International Congress of History of Art, Granada, September 1973.
Symposium on Medieval Art in Upstate New York, Syracuse University, April 1974.
Colloquium on Gothic Painting in Cologne, Wallraf Richartz Museum, July 1974.

College Art Association Annual Meeting in Washington, January 1975.
Eight National Convention of the American Association for the Advancement of Slavic Studies,
St. Louis, October 1976.
First Greek, Roman, and Byzantine Studies Conference at Briarcliff College, N.Y. Dec. 1976.
65th Annual Meeting of the College Art Association of America in Los Angeles, February 1977.
Symposium "Slavic Cultures: Similarities and Differences" at SUNY Buffalo, March 1977.
Conference on the Fourteenth Century, Center for Medieval and Early Renaissance Studies,
SUNY Binghampton, March 1977.
Annual Meeting of the Midwest Slavic Conference, University of Michigan, Ann Arbor, 1977 Central Renaissance Conference, Cleveland Museum of Art, 22 24, March 1979.
International Colloquium on the Master of Fémalle and R. van der Weyden at the Université
Catholique in Louvain, 6 8 September 1979
XXIV International Congress of the History of Art in Bologna, 10 18 September 1979.
68th Annual Meeting of the College Art Association in New Orleans, 30 Jan. 2 Feb. 1980.
Conference on the High Middle Ages, Center for Medieval and Early Renaissance Studies,
SUNY Binghamton, 11 12 April 1980.
Conference "New Methodologies in Art History" at Colgate University, Hamilton, 8 Nov. 1980.
IV International Colloquium for the study of the Underdrawing in Painting at the Université
Catholique in Louvain, 29 31 October 1981.
Colloque Le Rayonnement de l'Art Siennois du Trecento, Avignon, 24 26 June 1983.
XXV International Congress of the History of Art in Vienna, 9 10 September 1983.
XLIII Colloquium, Center for Advanced Study in the Visual Arts, National Gallery of Art,
Washington, D.C., 6 December 1984.
International Congress on Simone Martini in Siena, 27 29 March 1985.
17th International Byzantine Congress, Washington, 3 8 August 1986.
Conference World War; 1938 a 50 Year Perspective, Siena College, Albany, 2 June 1988.
The Artist’s Workshop a Symposium, CASVA, National Gallery of Art & John Hopkins
University, Washington, 10 11 March 1989.
IX International Colloquium for the Study of the Underdrawing in Painting at the Université
Catholique in Louvain, 12 14 September 1991.
IV Conference The Making of the Medieval Book, Oxford, 10 12 July 1992.
Symposium on the Technology of Art Works from the Central European Region, Prague,
National Gallery, St. Agnes location, 7 11 June 1993.
X International Colloquium for the Study of the Underdrawing in Painting, Université
Catholique, Louvain la Neuve, 6 7 September 1993.
International Colloquium, Flanders in a European Perspective, Katholieke Universiteit Leuven,
7 10 September 1993.
Symposium Italian Art in Public and Private Collections. New Attributions/ New Iconography,
Istituto della Enciclopedia Italiana & Fordham Univ., New York 19 20 November 1993.
17th Congress of the Czechoslovak Society of Arts & Sciences, Prague 26 29 June 1994.
Conference Visitors, Immigrants, and Invaders in Cyprus, University at Albany, NY, Oct.6-8, 1994
International Conference Early Italian Art: 1250-1425, University of Georgia, Athens, GA, April
26-27, 1996.
International Conference King John of Luxemburg (1296-1346) and the art of his Era, Prague, Academy of
Sciences of the Czech Republic, 16-20 September 1996.
International Symposium Court Chapels of the High and Late Middle Ages and their Artistic Decoration,
National Gallery of Art in Prague, 23-25 September 1998.


The Genius of Robert Campin, Mouton & Co., The Hague 1966 (reviewed in Gazette des Beaux-Arts,
January 1969, p.17 and in The Art Bulletin, December 1970, pp.434-37)
Punched Decoration on Late Medieval Panel Painting, Part I: Catalogue of Punch Shapes, Prague, Maxdorf 1998 (reviewed in Kunstchronik 3, March 2000, pp.108-110 and in CAA Reviews 6/1/2001).
Part II: History of the Procedure, Prague, Maxdorf 2004 was delayed by the publisher to 2009 and beyond!

"A Portrait Bust by the Master of 'Beautiful Madonnas' ", The Art Quarterly, Spring 1960, 36 51
"The Use of Wax for Appliqué Relief Brocade on Wooden Statuary", Studies in Conservation,
vol. 8, No.4, November 1963, pp. 136 49.
"The Frescoes from San Baudelio de Berlanga", Gesta, Nos. 1, 2, 1964, pp. 9 13.
"The Master of the Gerona Martyrology and Bohemian Illumination", The Art Bulletin, XLVI,
September 1964, pp. 283 306.
"A Note on Theophilus, Maker of Many Wonderful Things", The Art Bulletin, XLVI, December
1964, pp. 525 29.
"An Investigation of the Punched Decoration of Medieval Italian and Non Italian Panel
Paintings", The Art Bulletin, XLVII, June 1965, pp. 261 65.
"Illuminator Egregius Temporibus Wenceslai IV in Regno Bohemiae Florens", The
Czechoslovak Contribution to World Culture, The Hague 1964, pp.156 66.
"Czechoslovak Painting from its Beginning until the Second World War", Ibid, pp. 141 55.
"The Beautiful Style in the Sculpture around 1400", Czechoslovakia Past and Present, The
Hague 1966, pp. 1379 86.
"The Closing Tabernacle a Fanciful Innovation of Medieval Design", The Art Quarterly, .
No. 2, 1967, pp. 102 17.
"Identified Shutters of a Sculptured Shrine at The Cloisters", Gesta 6, January 1967, pp. 40 45.
"The Authorship of the Merode Altarpiece", The Art Quarterly XXXI, No.3, 1968, pp. 246 65.
"Note on the Punched Decoration of Two Early Painted Panels at the Fogg Art Museum:
St. Dominic and the Crucifixion",The Art Bulletin, LIII, September 1971, pp. 306 09.
"On the Punched Decoration in Medieval Panel Painting and Manuscript Illumination”, Acta of the V
International Congress for Conservation of Panel Painting and Graphic Art, Lisbon 1972, pp. 115 21.
(Reprinted in Brommelle & Smith, Conservation and Restoration of Pictorial Art, London 1976, pp.
54 60.)
"New Evidence of the Relationship of Central European and Italian Painting during the
Fourteenth Century", Acta of the XXII International Congress of History of Art in
Budapest 1969, Hungarian Academy of Sciences 1973, pp. 649 54.

"A Statue of St. Christopher at the M.H. de Young Memorial Museum at San Francisco",
Hortus Imaginum, Essays in Western Art, University of Kansas, Lawrence 1974, pp. 57 64.
"Punchmarks in the Ingeborg Psalter", The Year 1200: A Symposium, The Metropolitan
Museum of Art, New York 1975, pp. 251 60.
"A Seemingly Florentine yet not really Florentine Altar piece, The Burlington Magazine, CXVII
August 1975, pp. 527 35.
"Evidence of the Italian Influence on Catalan Panel Painting of the Fourteenth Century", Actas
del XXIII Congreso Internacional de Historia del Arte, Granada 1976, Vol. I, pp. 361 71.
"Deletions from the Oeuvre of Pietro Lorenzetti and Related Works by the Master of the Beata
Umiltà, Mino Parcis da Siena, and Jacopo di Mino del Pellicciaio", Mitteilungen des
Kunsthistorischen Institutes in Florenz, XX, No.3, 1976, pp.271 300.
"The Puzzling Raised Decorations in the Paintings by Master Theodoric", Simiolus, Netherlands
quarterly for the history of art, 8, No. 2, 1976, pp. 49 68.
"New Work of Alvaro Pirez", Bulletin du Musée National de Varsovie XVII, No.2, 1976, 33-47.
"On the Relief Adornment in the Klarenaltar and Other Paintings in Cologne",Vor Stefan
Lochner: Die Kőlner Maler von 1300 1430, (Kőlner Berichte zur Kunstgeschichte), Cologne,
1977, pp. 131 39.
"Internationalism of the Prague Artistic Center", The Fourteenth Century (Acta Vol. IV), SUNY
Binghamton 1977, pp. 45 64.
"The Quest for a Restorer's Shop of Beguiling Invention: Restorations and Forgeries in Italian
Panel Painting", The Art Bulletin, LX, March 1978, pp. 7 23.
"Medieval Bohemica: Addenda et Subtrahenda", Acta Historiae Artium XXV, Budapest, 1980,
"The Style of the Underdrawing: to what Extent Reflecting the Distinct Temperament and how
much Indebted to a Drawing Tradition?", Le Dessin Sous jacent dans la Peinture. Colloque
III: Le Problème Maître de Flémalle van der Weyden, Université Catholique de Louvain,
Louvain la Neuve, 1981, pp.73 84.
"Relief Imitation of Metallic Sheathing of Byzantine Icons as an Indicator of East West
Influences", The High Middle Ages (Acta Vol.VII), SUNY Binghamton 1983 (for 1980),
pp. 147 67.
"Raised Gilded Adornment of the Cypriot Icons and the Occurrence of the Technique in the
West", Gesta, XX, No.2, 1981, pp.333 47.
"Drawing the Net Closer: the Case of Icilio Federico Joni, Painter of Antique Pictures",
Pantheon, XL, No. 3, 1982, pp. 217 24.
"Unsettling Evidence in some Panel Paintings of Simone Martini", La pittura nel XIV e XV
secolo. Il contributo dell'analisi tecnica alla storia dell'arte (Atti del XXIV Congresso del
Comitato Internazionale di Storia dell'Arte), Università di Bologna, vol. 3, 1983, pp. 211 36.
"Some Observations on the Campinesque Annunciation in Brussels", L'Attribution en Peinture.
Apport du Dessin Sous jacent. Colloque III, Louvain la Neuve, 1983, pp. 87 97.

"The Decoration of the Gilded Surfaces in Panel Painting around 1300", Europäische Kunst um
1300, vol.6 of the XXV International Kongress für Kunstgeschichte, Wien 1983, Vienna
1986, pp. 69 75.
"Le peintre siennois itinérant Gabriele Saracini", Acta du Colloque: Le Rayonnement de
l'Art Siennois du Trecento en Europe, Avignon, June 1983 (Proceedings never published)
"Relief Decoration in the Gilded Pastiglia on the Cypriot Icons and its Propagation in the West",
Acta of the Second International Congress of Cypriot Studies 1982, Nicosia 1986, 539 44.
"Notes on Early Italian Panel Paintings in Belgrade", Zbornik Narodnog Muzeja XIII 2, 1987,
pp. 41 50.
"Searching for an Adriatic(?) Painting Workshop with Byzantine Connection", Zograf 18,
Belgrade 1987, pp.12 21.
“Stamped Halos in the Maestà of Simone Martini", Simone Martini, Atti del Convegno, Siena,
March 1985 Florence, Centro Di 1988, pp.139 145.
"A few Remarks on International Contacts of Bohemian Painting in the later Middle Ages",
Umění 40, 1992, No.2, pp.89 99.
"The Technique of Punched Decoration of Gilded Surfaces on Medieval Painting”, Technologia
Artis, 2, Prague 1992, pp.14 22.
"A Portable Coronation Triptych and a Carved Enthroned Madonna in the National Gallery at
Prague: a few Observations", Bulletin of the National Gallery in Prague 2/ 1992, pp.4 12.
"Observations on the Trecento and Early Quattrocento Workshop", The Artist's Workshop,
CASVA, Washington, 1993, pp.19 34.
"Underdrawing in the Fourteenth Century Painting in Bohemia", Dessin sous jacent et pratiques
d'atelier. Colloque 9, Louvain la Neuve 1993, pp.149 154.
"Punched Decoration in Central European Manuscript Illumination", Making the Medieval
Manuscript Book: Techniques of Production, Los Altos Hills & London, 1994, pp.117 132.
"Bohemian Painting vis à vis Southern Netherlands", Flanders in a European Perspective,
Leuven 1995, pp.75 92
“The Kykkotissa and her Variants: in Search for Italian Painters on Cyprus”, Visitors,
Immigrants and Invaders in Cyprus, ed. Paul W.Wallace, University at Albany 1995, pp.104-113.
“Some Thought-provoking Musing: Angevino- Luxemburgian - Corvinian”, Ars (Bratislava),
1-3/1996, pp.73 - 89.
“On a few Specific Technological and Decorative Features of Bohemian Art Pointing to
Contacts Abroad”, King John of Luxembourg (1296 - 1346) and the Art of his Era,
Prague 1998, pp.238 - 243.
“Pastiglia Appliqué Decoration at Karlštejn Castle: Continuity of the Procedure”, Court
Chapels of the High and Late Middle Ages and their Artistic Decoration, National Gallery in
Prague, 2003, pp.6-81.
“Le portrait du Louvre de Jean le Bon”; Umĕní LII, 2004, No.5, pp.298-309.
“Observations on the Altarpiece of Thomas de Coloswar”, Ars, 2007, 1, pp.3 -18.
“Searching for the Sources of Inspiration of the Master of the Travels of John Mandeville”, Wiener
Jahrbuch fuer Kunstgeschichte, 2008.
“A Unique Feature in Bohemian and Central European Illumination – the Punch Work Decoration”,
Codices Manuscripti, 71/72 , July 2009, pp.27-58.
“Observation on Michel Sittow”, Artibus et Historiae, 2009, pp.139-156
Section on "Art in Czechoslovakia", in the New Catholic Encyclopedia, vol.4, 1967, pp.598-605.
Art Bibliography in East Central Europe: A Guide for Basic Publication, Study and Research
(P. Horecky, editor), University of Chicago Press, 1969, pp.337 68.
Five Entries for paintings in the catalogue Medieval Art in Upstate New York, Syracuse, 1974,
pp. 64 68
Entry on “Punzonatura”, Enciclopedia Italiana dell’arte medievale1998.
Contributor to Art and Archaeology: Technical Abstracts, International Institute for Conservation, London.

The Art Bulletin.
September 1964, 407 09: V. N. Lazarev, Feofan i ego škola, Moscow 1961.
Idem, Andrei Rublev, Moscow 1960.
June 1966, 267 69: Adam Milobedzki, Zarys dziejow architektury w Polsce, Warsaw 1963.
September December 1966, 457: Antoni Maslinski, Architektura antyku w interpretacji baroku,
Lublin 1962.

March 1968, 105 08: Vlasta Dvořáková et al., Gothic Mural Painting in Bohemia and Moravia,
1300 1378, London, 1964.
September 1968, 287f.: Piotr Skubiszewski, Czara Wloclawska, Poznań 1965.
January 1970, 100 02: Helga Kreuter Eggemann, Das Skizzenbuch des "Jaques Daliwe", Munich
March 1973, 145 48: Patrik Reutersward, Hieronymus Bosch, Uppsala,
June 1978, 566f: Miklòs Boskovits, Pittura fiorentina alla vigilia del Rinascimento, 1370 1400,
Florence, 1975.

Art Journal.
Fall 1970, 106 10: Millard Meiss, French Painting in the Time of Jean de Berry, New York1967.
Spring 1974, 85f: Bernard Berenson, Studies in Medieval Painting, New York, 1971.
Idem, Italian Pictures of the Renaissance, Venetian School, New York, 1972.

July 1956, 536 38: Jiří Mašín, Románská nástěnná malba v Čechách a na Moravě, Prague, 1954.
January 1957, 157 59: Vladimír Denkstein and František Matouš, Gothic Art of Southern
Bohemia, Prague, 1955.
January 1958, 83 f.: Antonín Friedl, Mikuláš Wurmser, Mistr královských portrétů na Karlštejně,
July 1958, 399 402: Antonín Friedl, Magister Theodoricus, Prague, 1956.
April 1959, 334 f.: Universitas Carolina: Philosophica, Prague, 1955.
April 1960, 306 09: Jan Květ and Hanns Swarzenski, Czechoslovakia: Romanesque and Gothic
Illuminated Manuscripts, New York, 1959.
July 1960, 448 51: Zoroslava Drobná, Gothic Drawing, Prague.
Jaroslav Pešina, Painting of the Gothic and Renaissance Periods, 1450 1550, Prague.
January 1961, 1,60 62: Jaroslav Pešina et al., Gotická nástěnná malba v zemích českých I.
Prague 1958.

April 1965,364f., James S. Richardson,The Medieval Stone Carver in Scotland, Edinburgh, 1964 January 1966, 167 70: Michal Walicki and Renè Huyghe, Poland: Painting of the Fifteenth
Century, New York Graphic Society, 1964.

Slavic Review.
March 1973, 189 f.: Oldřich J. Blažíček, Umění Baroku v Čechách, Prague, 1971.
September 1973, 671 73: Karl M. Swoboda, editor, Gotik in Bőhmen, Munich, 1969.
March 1969, 162 f.: Jan Bialostocki, The Art of the Renaissance in Eastern Europe: Hungary,
Bohemia, Poland, Cornell University Press, 1976.
March 1980, 166 f.: Milan Pavlík and Vladimír Uher, Dialogue of Forms, New York and
London, 1975.

East Central Europe.
1978, Vol. 5, 149 f.: Věra Hasalová and Jaroslav Vajdiš, Folk Art of Czechoslovakia, New York,
1982, Vol. 9, 213 f.: Amanda Tomlinson, ed., Prague Cathedral & Castle, London, 1980.
1982, Vol. 9, 214 16: Vladimír Denkstein et al., Prague (Art Centers, Leipzig, 1980.
1983, Vol. 10, 201 f.: James Shedel, Art and Society: The New Art Movement in Vienna,
1897 1914, Palo Alto, 1981.
1985, Vol.12, :Paul Magocsi & Florian Zapletal, Holzkirchen in den Karpathen /Wooden
Churches in the Carpathians/, Vienna, 1982.