The technique of the fusion in the statues in bronze: it is for a long time the
procedure more used by the sculptor to get statues in bronze from the complex
forms. This technique possesses varied formalities of application: fusion to
sand, fusion to lost wax, etc., but all are based on a same general principle.
The metal is brought in a crucible to temperature of fusion; once reached the
liquefaction, it is poured in a negative die, in which cooling
himself/herself/itself, he solidifies. Subsequently, the metal is extracted from
I stamp him/it to be finished up and chiseled to cold conferring him the form of
the statue in bronze desired. For the statues in bronze two methods of fusion
are distinguished: directly or indirect. For this last it deals with
realizing some reproductions in bronze of existing works in other materials
(chalk, clay etc.) that they have to be first you stamp and then reproduced. In
the directed method the sculpture immediately is realized in wax, that will be
lost during the cooking of I stamp him/it before the casting of the metal. This
trial gives samples place only of sculptures in bronze. The indirect technique,
allows contrarily, to get more samples, beginning from I stamp him/it some
original work. The fusion to lost wax: this technique is applied to complicated
sculptures, of which it is desired to get an only sample or a limited number of
copies. The wax model is surrounded By a die in material refractory, then
eliminated following the fusion. The fused metal is strained therefore in I
stamp him/it and he/she takes the place of that of the wax. The statue in bronze
is extracted destroying I stamp him/it. The fusion to sand: the imprint of the
model of the statue in bronze to be realized is taken with sands silicoargillose
that is pressed against it in a loom. The model is removed from I stamp him/it
before beginning the casting. The statue in bronze is deformed with the
inevitable destruction of I stamp him/it. This technique allows to throw a big
number of samples. The mentioned techniques are in use since the antiquity;
currently they are added to them new processes of fusion for the statues in
bronze. Among these they are to hold in consideration: The fusion with models in
polistirene: The model for the statue in bronze is realized in expanded
polistirene. You/he/she is stamped, both to sand and to refractory die, then the
metal is directly strained without removing the model. This because the
polistirene, to the contact with the fused metal, deep instantly and him
volatilizza. Both the model both I stamp him/it they will go lost. The trial of
"Shaw" (ceramic-shell casting): debugging in Great Britain in 1938 from
his/her/their brothers Shaw. It consists of using a mixture of ethyl silicato,
of water and of material of refractory very elegant, for the manufacture of I
stamp him/it. The mixture is strained to more resumptions, thin to a thickness
from 6 to 13 mms. Then the wax of the model is eliminated, heating I stamp
him/it that you/he/she will be exposed to alive flame to eliminate the non
refractory elements. After the straining of the metal the statue will be gotten
in bronze. The fusion in dice carapace: it consists of using, for the
realization of I stamp him/it, a flinty sand to elegant nuisance, agglomerated
with a resin termoinduribile. I stamp him/it, of small thickness, you/he/she can
be used for more statues in bronze. The fusion for centrifugazione and
injection: ideal trial for small statues in bronze that you/they demand a lot of
precision. The metal is melted through induction (special procedure that
combines magnetic heads and rotation of the crucible) then, when the optimal
temperature is reached, you/he/she is injected in I stamp him/it. These four
techniques of fusion are industrially used above all but they are able enter
certain limits to be applied for the statues in bronze in handicraft way. The
fusion of a statue in bronze is made in various tappe: molding of the model in
chalk - circulation of a copy of the statue in wax - installation of a
refractory soul - installation of ducts of air and throws on the wax statue -
realization of a die in dust or in sand - elimination of the wax through the
fusion in oven; hardening in the molding to sand - the fusion of the bronze in
the crucible - the casting of the fused metal in I stamp him/it - the cooling -
the finishing touch of the statue in bronze. The statues in bronze of small
dimensions floods can be strained, while the statues in bronze greater they will
be empty for the followings motives: with the purpose to reduce I waste him/it
some metal and therefore the cost of the statue in bronze - to reduce the weight
of the statue in bronze - for the solidità:in effects a statue in bronze voids
it is more solid than an equivalent but flood - to avoid the alterations caused
by the withdrawal of a mass of great too metal. Technique of the fusion to lost
wax of the statues in bronze: This trial, that is the most ancient, was known
already by the Egyptians. Use wide of it has been made during the Greek
classical epoch with a notable production of statues in bronze, as in the
Italian Renaissance. Welcome Cellini tells in his/her memories, as you/he/she
has strained the statue in bronze of the Perseo in his/her study. This case is
probably exceptional because the most greater part of the sculptors for the
fusion of their statues in bronze they turned to specialized foundries, to which
you/they submitted their original model in chalk or clay.
The technique of the fusion in the bas-reliefs in bronze: it is for a long time
the procedure more used by the sculptor to get bas-reliefs in bronze from the
complex forms. This technique possesses varied formalities of application:
fusion to sand, fusion to lost wax, etc., but all are based on a same general
principle. The metal is brought in a crucible to temperature of fusion; once
reached the liquefaction, it is poured in a negative die, in which cooling
himself/herself/itself, the bas-relief solidifies him in bronze. Subsequently,
the metal is extracted from I stamp him/it to be finished up and chiseled to
cold conferring him the form of the bas-relief in desired bronze. For the
bas-reliefs in bronze two methods of fusion are distinguished: directly or
indirect. For this last it deals with realizing some reproductions in bronze
of existing bas-reliefs in other materials (chalk, clay etc.) that they have to
be first printed and then reproduced. In the directed method the bas-relief
immediately is realized in wax, that will be lost during the cooking of I stamp
him/it before the casting of the metal. This trial gives samples place only of
bas-reliefs in bronze. The indirect technique, allows contrarily, to get more
samples, beginning from I stamp him/it some original bas-relief. The fusion to
lost wax: this technique is applied to complicated sculptures, of which it is
desired to get an only sample or a limited number of copies. The wax model is
surrounded by a die in material refractory, then eliminated following the
fusion. The fused metal is strained therefore in I stamp him/it and he/she takes
the place of that of the wax. The bas-relief in bronze is extracted destroying I
stamp him/it. The fusion to sand: the imprint of the model of the bas-relief in
bronze to be realized is taken with sands silicoargillose that is pressed
against it in a loom. The model is removed from I stamp him/it before beginning
the casting. The bassorievo in bronze is deformed with the inevitable
destruction of I stamp him/it. This technique allows to throw a big number of
bas-reliefs in bronze. The mentioned techniques are in use since the antiquity;
currently they are added to them new processes of fusion for the bas-reliefs in
bronze. Among these they are to hold in consideration: The fusion with models in
polistirene: The model for the bas-relief in bronze is realized in expanded
polistirene. You/he/she is stamped, both to sand or to refractory die, then the
metal is directly strained without removing the model. This because the
polistirene, to the contact with the fused metal, deep instantly and him
volatilizza. Both the model both I stamp him/it they will go lost. The trial of
"Shaw" (ceramic-shell casting): debugging in Great Britain in 1938 from
his/her/their brothers Shaw. It consists of using a mixture of ethyl silicato,
of water and of material of refractory very elegant, for the manufacture of I
stamp him/it. The mixture is strained to more resumptions, thin to a thickness
from 6 to 13 mms. Then the wax of the model is eliminated, heating I stamp
him/it that you/he/she will be exposed to alive flame to eliminate the non
refractory elements. After the straining of the metal the bas-relief will be
gotten in bronze. The fusion in dice carapace: it consists of using, for the
realization of I stamp him/it, a flinty sand to elegant nuisance, agglomerated
with a resin termoinduribile. I stamp him/it, of small thickness, you/he/she can
be used for more bas-relief in bronze. The fusion for centrifugazione and
injection: ideal trial for small bas-reliefs in bronze that you/they demand a
lot of precision. The metal is melted through induction (special procedure that
combines magnetic heads and rotation of the crucible) then, when the optimal
temperature is reached, you/he/she is injected in I stamp him/it. These four
techniques of fusion are industrially used above all but they are able enter
certain limits to be applied for the bas-reliefs in bronze in handicraft way.
The fusion of a bas-relief in bronze is made in various tappe: molding of the
model in chalk - circulation of a copy of the bas-relief in wax - installation
of a refractory soul - installation of ducts of air and throws on the wax
bas-relief - realization of a die in dust or in sand - elimination of the wax
through the fusion in oven; hardening in the molding to sand - the fusion of the
bronze in the crucible - the casting of the fused metal in I stamp him/it - the
cooling - the finishing touch of the bas-relief in bronze. The bas-reliefs in
bronze of small dimensions can be strained full, while the bas-reliefs in bronze
greater they will be empty for the followings motives: with the purpose to
reduce I waste him/it some metal and therefore the cost of the bas-relief in
bronze - to reduce the weight of the bas-relief in bronze - for the solidity: in
effects a bas-relief in empty bronze is more solid of an equivalent but full -
to avoid the alterations caused by the withdrawal of a mass of great too metal.
Technique of the fusion to lost wax of the bas-reliefs in bronze: this trial,
that is the most ancient, was known already by the Egyptians. Use wide of it has
been made during the Greek classical epoch with a notable production of
bas-reliefs in bronze, as in the Italian Renaissance. Welcome Cellini tells in
his/her memories, as you/he/she has strained the statue in bronze of the Perseo
in his/her study. This case is probably exceptional because the most greater
part of the sculptors for the fusion of their bas-reliefs in bronze they turned
to specialized foundries, to which you/they submitted their original model in
chalk or clay. The indirect method: you/he/she is used when it is desired to
reproduce a bas-relief in bronze already realized in other materials except the
wax. The sculptor owes, first of all, to make a die of the bas-relief to
reproduce. Once finished I stamp him/it, that can be in glaze, or in chalk
composed from more elements or in caucciù silicone, will be strained him inside
the wax.
The technique of the fusion in the busts in bronze: it is for a long time the
procedure more used by the sculptor to get busts in bronze from the complex
forms. This technique possesses varied formalities of application: fusion to
sand, fusion to lost wax, etc., but all are based on a same general principle.
The metal is brought in a crucible to temperature of fusion; once reached the
liquefaction, it is poured in a negative die, in which cooling
himself/herself/itself, he solidifies. Subsequently, the metal is extracted from
I stamp him/it to be finished up and chiseled to cold conferring him the form of
the bust in desired bronze. For the busts in bronze two methods of fusion are
distinguished: directly or indirect. For this last it deals with
realizing some reproductions in bronze of existing busts in other materials
(chalk, clay etc.) that they have to be first printed and then reproduced. In
the directed method the bust immediately is realized in wax, that will be lost
during the cooking of I stamp him/it before the casting of the metal. This trial
gives samples place only of busts in bronze. The indirect technique, allows
contrarily, to get more samples, beginning from I stamp him/it some original
bust. The fusion to lost wax: this technique is applied to complicated
sculptures, of which it is desired to get an only sample or a limited number of
copies. The wax model is surrounded By a die in material refractory, then
eliminated following the fusion. The fused metal is strained therefore in I
stamp him/it and he/she takes the place of that of the wax. The bust in bronze
is extracted destroying I stamp him/it. The fusion to sand: the imprint of the
model of the bust in bronze to be realized is taken with sands silicoargillose
that is pressed against it in a loom. The model is removed from I stamp him/it
before beginning the casting. The bust in bronze is deformed with the inevitable
destruction of I stamp him/it. This technique allows to throw a big number of
busts in bronze. The mentioned techniques are in use since the antiquity;
currently they are added to them new processes of fusion for the busts in
bronze. Among these they are to hold in consideration: The fusion with models in
polistirene: The model for the bust in bronze is realized in expanded
polistirene. You/he/she is stamped, both to sand or to refractory die, then the
metal is directly strained without removing the model. This because the
polistirene, to the contact with the fused metal, deep instantly and him
volatilizza. Both the model both I stamp him/it they will go lost. The trial of
"Shaw" (ceramic-shell casting): debugging in Great Britain in 1938 from
his/her/their brothers Shaw. It consists of using a mixture of ethyl silicato,
of water and of material of refractory very elegant, for the manufacture of I
stamp him/it. The mixture is strained to more resumptions, thin to a thickness
from 6 to 13 mms. Then the wax of the model is eliminated, heating I stamp
him/it that you/he/she will be exposed to alive flame to eliminate the non
refractory elements. After the straining of the metal the bust will be gotten in
bronze. The fusion in dice carapace: it consists of using, for the realization
of I stamp him/it, a flinty sand to elegant nuisance, agglomerated with a resin
termoinduribile. I stamp him/it, of small thickness, you/he/she can be used for
more busts in bronze. The fusion for centrifugazione and injection: ideal trial
for small busts in bronze that you/they demand a lot of precision. The metal is
melted through induction (special procedure that combines magnetic heads and
rotation of the crucible) then, when the optimal temperature is reached,
you/he/she is injected in I stamp him/it. These four techniques of fusion are
industrially used above all but they are able enter certain limits to be applied
for the busts in bronze in handicraft way. The fusion of a bust in bronze is
made in various tappe: molding of the model in chalk - circulation of a copy of
the bust in wax - installation of a refractory soul - installation of ducts of
air and throws on the wax bust - realization of a die in dust or in sand -
elimination of the wax through the fusion in oven; hardening in the molding to
sand - the fusion of the bronze in the crucible - the casting of the fused metal
in I stamp him/it - the cooling - the finishing touch of the bust in bronze. The
busts in bronze of small dimensions can be strained full, while the busts in
bronze greater they will be empty for the followings motives: with the purpose
to reduce I waste him/it some metal and therefore the cost of the bust in bronze
- to reduce the weight of the bust in bronze - for the solidità:in effects a
bust in empty bronze is more solid of an equivalent but full - to avoid the
alterations caused by the withdrawal of a mass of great too metal. Technique of
the fusion to lost wax of the busts in bronze: this trial, that is the most
ancient, was known already by the Egyptians. Use wide of it has been made during
the Greek classical epoch with a notable production of busts in bronze, as in
the Italian Renaissance. Welcome Cellini tells in his/her memories, as
you/he/she has strained the statue in bronze of the Perseo in his/her study.
This case is probably exceptional because the most greater part of the sculptors
for the fusion of their busts in bronze they turned to specialized foundries, to
which you/they submitted their original model in chalk or clay. The indirect
method: you/he/she is used when it is desired to reproduce a bust in bronze
already realized in other materials except the wax. The sculptor owes, first of
all, to make a die of the bust to reproduce. Once finished I stamp him/it, that
can be in glaze, or in chalk composed from more elements or in caucciù silicone,
will be strained him inside the wax.
The technique of the fusion in the sculptures in bronze: it is for a long time
the procedure more used by the sculptor to get sculptures in bronze from the
complex forms. This technique possesses varied formalities of application:
fusion to sand, fusion to lost wax, etc., but all are based on a same general
principle. The metal is brought in a crucible to temperature of fusion; once
reached the liquefaction, it is poured in a negative die of the sculpture in
bronze, in which cooling himself/herself/itself, he solidifies. Subsequently,
the metal is extracted from I stamp him/it to be finished up and chiseled to
cold conferring him the form of the sculpture in bronze desired. For the
sculptures in bronze two methods of fusion are distinguished: directly or
indirect. For this last it deals with realizing some reproductions in bronze
of existing works in other materials (chalk, clay etc.) that they have to be
first you stamp and then reproduced. In the directed method the sculpture
immediately is realized in wax, that will be lost during the cooking of I stamp
him/it before the casting of the metal. This trial gives samples place only of
sculptures in bronze. The indirect technique, allows contrarily, to get more
samples, beginning from I stamp him/it some original work. The fusion to lost
wax: this technique is applied to complicated sculptures, of which it is desired
to get an only sample or a limited number of copies. The wax model is surrounded
by a die in material refractory, then eliminated following the fusion. The fused
metal is strained therefore in I stamp him/it and he/she takes the place of that
of the wax. The sculpture in bronze is extracted destroying I stamp him/it. The
fusion to sand: the imprint of the model of the sculpture in bronze to be
realized is taken with sands silicoargillose that is pressed against it in a
loom. The model is removed from I stamp him/it before beginning the casting. The
sculpture in bronze is deformed with the inevitable destruction of I stamp
him/it. This technique allows to throw a big number of samples. The mentioned
techniques are in use since the antiquity; currently they are added to them new
processes of fusion for the sculptures in bronze. Among these they are to hold
in consideration her fusion with models in polistirene: The model for the
sculpture in bronze is realized in expanded polistirene. You/he/she is stamped,
both to sand and to refractory die, then the metal is directly strained without
removing the model. This because the polistirene, to the contact with the fused
metal, deep instantly and him volatilizza. Both the model both I stamp him/it
they will go lost. The trial of "Shaw" (ceramic-shell casting): debugging
in Great Britain in 1938 from his/her/their brothers Shaw. It consists of using
a mixture of ethyl silicato, of water and of material of refractory very
elegant, for the manufacture of I stamp him/it. The mixture is strained to more
resumptions, thin to a thickness from 6 to 13 mms. Then the wax of the model is
eliminated, heating I stamp him/it that you/he/she will be exposed to alive
flame to eliminate the non refractory elements. After the straining of the metal
the sculpture will be gotten in bronze. The fusion in dice carapace: it consists
of using, for the realization of I stamp him/it, a flinty sand to elegant
nuisance, agglomerated with a resin termoinduribile. I stamp him/it, of small
thickness, you/he/she can be used for more sculptures in bronze. The fusion for
centrifugazione and injection: ideal trial for small sculptures in bronze that
you/they demand a lot of precision. The metal is melted through induction
(special procedure that combines magnetic heads and rotation of the crucible)
then, when the optimal temperature is reached, you/he/she is injected in I stamp
him/it. These four techniques of fusion are industrially used above all but they
are able enter certain limits to be applied for the sculptures in bronze in
handicraft way. The fusion of a statue in bronze is made in various tappe:
molding of the model in chalk - circulation of a copy of the sculpture in wax -
installation of a refractory soul - installation of ducts of air and throws on
the wax sculpture - realization of a die in dust or in sand - elimination of the
wax through the fusion in oven; hardening in the molding to sand - the fusion of
the bronze in the crucible - the casting of the fused metal in I stamp him/it -
the cooling - the finishing touch of the sculpture in bronze. The sculptures in
bronze of small dimensions floods can be strained, while the sculptures in
bronze greater they will be empty for the followings motives: with the purpose
to reduce I waste him/it some metal and therefore the cost of the sculpture in
bronze - to reduce the weight of the sculpture in bronze - for the solidità:in
effects a sculpture in bronze voids it is more solid than an equivalent but
flood - to avoid the alterations caused by the withdrawal of a mass of great too
metal. Technique of the fusion to lost wax of the sculptures in bronze: This
trial, that is the most ancient, was known already by the Egyptians. Use wide of
it has been made during the Greek classical epoch with a notable production of
statues in bronze, as in the Italian Renaissance. Welcome Cellini tells in
his/her memories, as you/he/she has strained the sculpture in bronze of the
Perseo in his/her study. This case is probably exceptional because the most
greater part of the sculptors for the fusion of their sculptures in bronze they
turned to foundries
The technique of the bas-reliefs in marble: The marble is for a long time the
material had a preference for by the sculptors. The physical resistance, the
weight and the seductive aspect of numerous marbles have deposed to them favor
in every epoch. The sculpture in marble has served to glorify the different
civilizations that succedutes are him since the antiquity. They are available
numerous varieties of marbles. For that that it pertains to the choice of the
marble for a bas-relief, tener it is owed account of the availability of the
market, of the price, of the hardness, of the resistance to the bad weather and
of the artistic purpose to be pursued. The marble is a material that asks for a
lot of patience in the workmanship and physical strength. The marble, according
to his/her hardness, it allows a workmanship of the bas-relief more or less dug
or picked, synthetic and thick forms. The original form of the block determines
the choice of the bas-relief in marble. The afterthoughts are not admitted what
you/he/she has been removed it is definitely him/it from the bas-relief of
marble. The sculptor can begin the job departing from an irregular block. After
having him/it select proper for the form of the bas-relief to be realized
you/he/she can begin to carve. Initially the general forms of the bas-relief are
freed in marble. When the great masses have been removed, it is not more
possible to introduce big changes to the bas-relief in marble to realize. The
marble will be removed from layers, actually to get the desired bas-relief. The
method is slow and rather fatiguing from the physical side, especially if the
marble is very hard, but it is one of the experiences that more it enriches an
artist. Before thinning down it is better to draw on the block the form of the
future bas-relief in marble. For the phase of outline you/they are used
flexible, breaks, mazzetta heavy and big points, which are waved with a right
angling in comparison to the surface of the bas-reliefs in marble. For the
sgrossatura, the points thinnest they are used with an angle of around 45
degrees. The final form of the bas-relief in marble can have approached until to
half centimeter with the gradines and the points. The flat chisels will be used
for joining the plans and to finish up the bas-relief in marble, holding a
position very tilted. They uses then papers and other abrasives for the
polishing and polish of the bas-relief in marble. Some sculptors use only the
point for all through the realization of the bas-relief in marble. Some parts of
the surface of the work can be left rough maintaining the trace of the used
utensil (it chisels, stings, etc.) conferring to the bas-relief in marble
different tonality.
The technique of the busts in marble: The marble is for a long time the material
had a preference for by the sculptors. The physical resistance, the weight and
the seductive aspect of numerous marbles have deposed to them favor in every
epoch. The sculpture in marble has served to glorify the different civilizations
that succedutes are him since the antiquity. They are available numerous
varieties of marbles. For that that it pertains to the choice of the marble for
a bust, tener it is owed account of the availability of the market, of the
price, of the hardness, of the resistance to the bad weather and of the artistic
purpose to be pursued. The marble is a material that asks for a lot of patience
in the workmanship and physical strength. The marble, according to his/her
hardness, it allows a workmanship of the bust more or less dug or picked,
synthetic and thick forms. The original form of the block determines the choice
of the bust in marble. The afterthoughts are not admitted what you/he/she has
been removed it is definitely him/it from the bust of marble. The sculptor can
begin the job departing from an irregular block. After having him/it select
proper for the form of the bust to be realized you/he/she can begin to carve.
Initially the general forms of the bust are freed in marble. When the great
masses have been removed, it is not more possible to introduce big changes to
the bust in marble to realize. The marble will be removed from layers, actually
to get the desired bust. The method is slow and rather fatiguing from the
physical side, especially if the marble is very hard, but it is one of the
experiences that more it enriches an artist. Before thinning down it is better
to draw on the block the form of the future bust in marble. For the phase of
outline you/they are used flexible, breaks, mazzetta heavy and big points, which
are waved with a right angling in comparison to the surface of the bust in
marble. For the sgrossatura, the points thinnest they are used with an angle of
around 45 degrees. The final form of the bust in marble can have approached
until to half centimeter with the gradines and the points. The flat chisels will
be used for joining the plans and to finish up the bust in marble, holding a
position very tilted. They uses then papers and other abrasives for the
polishing and polish of the bust in marble. Some sculptors use only the point
for all through the realization of the bust in marble. Some parts of the surface
of the work can be left rough maintaining the trace of the used utensil (it
chisels, stings, etc.) conferring to the bust in marble different tonality.
The technique of the statues in marble: The marble is for a long time the
material had a preference for by the sculptors. The physical resistance, the
weight and the seductive aspect of numerous marbles have deposed to them favor
in every epoch. The statues in marble have served to glorify the different
civilizations that succedutes are him since the antiquity. They are available
numerous varieties of marbles. For that that it pertains to the choice of the
marble for a statue, tener it is owed account of the availability of the market,
of the price, of the hardness, of the resistance to the bad weather and of the
artistic purpose to be pursued. The marble is a material that asks for a lot of
patience in the workmanship and physical strength. The marble, according to
his/her hardness, it allows a workmanship of the statues more or less dug or
picked, synthetic and thick forms. The original form of the block determines the
choice of the statue in marble. The afterthoughts are not admitted what
you/he/she has been removed it is definitely him/it from the statue of marble.
The sculptor can begin the job departing from an irregular block. After having
him/it select proper for the form of the statue to be realized you/he/she can
begin to carve. Initially the general forms of the statue are freed in marble.
When the great masses have been removed, it is not more possible to introduce
big changes to the statue in marble to realize. The marble will be removed from
layers, actually to get the desired statue. The method is slow and rather
fatiguing from the physical side, especially if the marble is very hard, but it
is one of the experiences that more it enriches an artist. Before thinning down
it is better to draw on the block the form of the future statue in marble. For
the phase of outline you/they are used flexible, breaks, mazzetta heavy and big
points, which are waved with a right angling in comparison to the surface of the
statue in marble. For the sgrossatura, the points thinnest they are used with an
angle of around 45 degrees. The final form of the statue in marble can have
approached until to half centimeter with the gradines and the points. The flat
chisels will be used for joining the plans and to finish up the statue in
marble, holding a position very tilted. They uses then papers and other
abrasives for the polishing and polish of the statue in marble. Some sculptors
use only the point for all through the realization of the statue in marble. Some
parts of the surface of the work can be left rough maintaining the trace of the
used utensil (it chisels, stings, etc.) conferring to the statue in marble
different tonality.
The technique of the sculpture in marble: The marble is for a long time the
material had a preference for by the sculptors. The physical resistance, the
weight and the seductive aspect of numerous marbles have deposed to them favor
in every epoch. The sculpture in marble has served to glorify the different
civilizations that succedutes are him since the antiquity. They are available
numerous varieties of marbles. For that that it pertains to the choice of the
marble for a sculpture, tener it is owed account of the availability of the
market, of the price, of the hardness, of the resistance to the bad weather and
of the artistic purpose to be pursued. The marble is a material that asks for a
lot of patience in the workmanship and physical strength. The marble, according
to his/her hardness, it allows a workmanship of the sculpture more or less dug
or picked, synthetic and thick forms. The original form of the block determines
the choice of the sculpture in marble. The afterthoughts are not admitted what
you/he/she has been removed it is definitely him/it from the sculpture of
marble. The sculptor can begin the job departing from an irregular block. After
having him/it select proper for the form of the sculpture to be realized
you/he/she can begin to carve. Initially the general forms of the sculpture are
freed in marble. When the great masses have been removed, it is not more
possible to introduce big changes to the sculpture in marble to realize. The
marble will be removed from layers, actually to get the desired sculpture. The
method is slow and rather fatiguing from the physical side, especially if the
marble is very hard, but it is one of the experiences that more it enriches an
artist. Before thinning down it is better to draw on the block the form of the
future sculpture in marble. For the phase of outline you/they are used flexible,
breaks, mazzetta heavy and big points, which are waved with a right angling in
comparison to the surface of the sculpture in marble. For the sgrossatura, the
points thinnest they are used with an angle of around 45 degrees. The final form
of the sculpture in marble can have approached until to half centimeter with the
gradines and the points. The flat chisels will be used for joining the plans and
to finish up the sculpture in marble, holding a position very tilted. They uses
then papers and other abrasives for the polishing and polish of the sculpture in
marble. Some sculptors use only the point for all through the realization of the
sculpture in marble. Some parts of the surface of the work can be left rough
maintaining the trace of the used utensil (it chisels, stings, etc.) conferring
to the sculpture in marble different tonality.
The sculpture the sculptures: The sculptor converts the subject in objects that
seem to live of proper life, putting in work what the men you/they have almost
considered for centuries a divine creative power; and since the ancient epoches
that spark of life has made some sculpture the target of the armies conquerors
and of the fanatical followers of the new religions, that wanted to destroy or
to deface the sculptures and the statues of the ancient heads and the. Instead
we are inclinable today to consider the sculptures as artistic objects rather
than as alive presences. The realistic colors, the precious stones, the gilding,
and also the dresses that adorned the sculptures up to the XVI century have
disappeared, but the solidity of the materials from which the sculptures were
drawn has preserved us one of the more complete visual documentations of the
past: we have in fact a relative abundance of Greek sculptures and Roman
sculptures, while the paintings are for the most greater part disappeared. In
recent times the sculptors have put in prominence the sculpture in wood, the
sculpture in terracotta, the sculpture in different metals and the sculpture in
varied marbles and stones, contributing to underline other important aspects of
the charm of the sculpture. August Rodin, one of the greatest modern sculptors,
exactly defined, even if with little elegance, the sculpture calling her/it the
art "of the hole and of the mass." This expression wants to mean that the
sculpture requires more than every other art, to the infuori of the
architecture, a solid form (her "mass") and the exact relationship of this with
the space (the "hole") the sculpture in fact "occupa"spazio just as us. The
vitality of the sculpture determines the choice of the material from the
sculptor and the uses which he destines the same sculpture. The sculpture to all
round. Only among the men, the sculptor has the power to perform a work of art
that seems to possess a personality, a proper identity, even a life to if. A
sculpture does it departs some three-dimensional world, characteristic that the
paintings cannot have; this particular virtue of the graven figures helps us to
understand sculptor Pigmalione's Greek legend, which modeled the sculpture of
such a beautiful woman that fell in love, and so much perdutamente that Venus
gave the life to the sculpture. The feeling that the graven images have a kind
of powerful person vitality probably induced the prehistoric men to create the
first sculptures to known tuttotondo: the amulets or talismen, pendants with
magic powers to be held I set. Also in times more recent small portable
sculptures continue to be considered "protective": the crucifix is a Christian
example of it, while the Chinese and the Indians have small sculptures of
Buddha. The Christians immediately clarify that the crucifix is the reminder
of a person (Jesus Cristo), of an event (the crocifissione)e of a
concetto(la redemption) and it doesn't have powers magic, but such small
sculptures they always have also a kind of power that derives them to represent
beliefs or divinity and their three-dimensional independence from other objects,
joined to the small dimensions of the sculpture, it puts a person able to live
to narrow contact with these sculptures. The spark of inherent life in the
sculpture has induced the artists to create protecting images of the souls of
the dead ones: the most famous examples of this type of sculpture are the
figures found in the Egyptian graves. The sculpture has had besides employment
in the commemoration of the great men and the heroes: the symbolic layings and
the customs of the sculptures suggest personal attributes; particularly a symbol
is in use since the time of the Greek sculpture and the Roman sculpture, the
horse: the figure that belongs to an equestrian monument purchases in fact in
dignity for the position of predominance that the to be aloft on the horse
confers to the sculpture.
Gipsoteca: This word composed drift from the Greek chalk and reliquary and it
means harvest of reproductions in chalk of works of sculpture, of architectural
parts of archaeological finds. The gipsoteca has a great documentary importance,
didactics, of harvest and popular; the gipsoteca picks up classical art, Greek
art, Roman, in the gipsoteca there are works in tuttotondo: statues and busts
but also bas-reliefs and altorilievi. The gipsoteca picks up Egyptian art,
medieval art, neoclassic art, Renaissance, Baroque, liberty. The gipsoteca being
a harvest of reproductions of works of art in chalk, that is a material from the
contained costs allows everybody to be able to have a reproduction of
Michelangelo, Donatello, Verrocchio etc. You gipsoteca further to be a harvest
of positive in chalk, it is a to harvest of negative of opre of sculpture: dice.
The Egyptians already used the chalk as molding material: they used, as you
model for their sculptures, of you stamp him in chalk of faces or other parts of
the human body. Masks of the kind have been found again to El-Amarna, you
realize approximately around the 1370 a.C. The first example known of a similar
mask is that discovery to Saqquara. And' the mask of king Teti, of the You
dynasty, dead in the 2400 a.C. Subsequently the Greek have used not the chalk
for negative dice of statues for real gipsoteche but for the fusion of the
statues. During the Roman period you/he/she has been used for stamping the
famous death masks of the ancestors, preserved jealously as small gipsoteche
from the sbozzatoris of the period. The chalk in gipsoteca is used for dice and
positive for its characteristics: it acquires later a creamy consistence I mix
him and he/she is malleable for some time, before buckets; when it is to the
state of liquid cream, you/he/she can be spread out on surfaces, of which bride
faithfully the reliefs before hardening. The chalk is easily retrieved and its
price is moderate, it easily prepares him in little time, it slightly dilates
him to I mix him and full well you stamp
