The given name Eric is derived from the Old Norse name Eiríkr (or Eríkr in Eastern Scandinavia due to monophthongization). The first element, ei- is derived either from the older Proto-Norse *aina(z) meaning "one" or "alone" or from Proto-Norse *aiwa(z) meaning "ever" or "eternal". The second element -ríkr derives either from *rík(a)z meaning "ruler" or "prince" (cf. Gothic reiks) or from an even older Proto-Germanic *ríkiaz which meant "powerful" and "rich". The name is thus usually taken to mean "one ruler" or "eternal ruler" or "ever powerful," etc.

The most common spelling in Scandinavia is Erik. In Norway, another form of the name (which has kept the Old Norse diphthong) Eirik is also commonly used. In Finland, the form Erkki is also used. The modern Icelandic version is Eiríkur, while the modern Faroese version is Eirikur. Éric is used in French, and in Germany Eric, Erik and Erich are used.

Although the name was in use in Anglo-Saxon Britain, its use was reinforced by Scandinavian settlers arriving before the Norman Invasion. It was an uncommon name in England until the Middle Ages, when it gained popularity, and finally became a common name in the 19th century. This was partly because of the publishing of the novel Eric, or, Little by Little by Frederick William Farrer in 1858.

Arno Breker (July 19, 1900 – February 13, 1991) was a German sculptor, best known for his public works in Nazi Germany, which were endorsed by the authorities as the antithesis of degenerate art.

He was born in Elberfeld, now a part of Wuppertal and died in Düsseldorf.

Breker was born in Elberfeld, in the west of Germany, the son of stonemason Arnold Breker. He began to study architecture, along with stone-carving and anatomy. At age 20 he entered the Düsseldorf Academy of Arts where he concentrated on sculpture, studying under Hubert Netzer and Wilhelm Kreis. He first visited Paris in 1924, shortly before finishing his studies. There he met with Jean Cocteau, Jean Renoir, Pablo Picasso, Daniel-Henry Kahnweiler, and Alfred Flechtheim. In 1927 he moved to Paris, which he thereafter considered to be his home. He was quickly accepted by the art dealer Alfred Flechtheim. He also established close relationships with important figures in the art world, including Charles Despiau, Isamu Noguchi, Maurice de Vlaminck and André Dunoyer de Segonzac, all of whom he later portrayed. He travelled to North Africa, producing lithographs which he published under the title "Tunisian Journey". He also visited Aristide Maillol, who was later to describe Breker as "Germany's Michelangelo".