how do they make molds of classic sculptures pieta
The story, nonetheless, is one that universally delights in the retelling, and however fictional, it also captures an important truth about this unique work: this was Michelangelo’s boldest quest for fame and his graduation piece to public acclaim.
With a design as complicated as Amare, there is the temptation to skip the plaster completely and not worry about making multiple statues… Michalangelo would only create the Maquette from clay or wax without any thought to preserving his miniature masterpieces. However, he had wealthy patrons who could cover the costs of his work. Michalangelo was not your typical starving artist. For us mere mortals, we have to make a living and generate marketable art. It may come as a shock to some just how expensive art supplies can be. Between the hundred plus pounds of modeling clay, dozens plus bags of plaster, and boxes of natural clay, combined with studio space, building materials and electric kilns and tools, the final clay statue will have a hard cost of well over one thousand dollars. Its no wonder that many skip the making of clay statues and move directly to Marble. After all, The marble block will also be over a thousand, so why double your costs…. Quite an investment. But beyond the cash outlay, there is a more serious investment, and that is your time… so much time. Clay statues can be re-cast and so have a better chance of recouping your cost… in for a penny, in for a pound. And so the Plaster mold is the practical solution to production. For more details on this, jump to the beginning of my chapter on “pouring your plaster mold”
Pieta Amare is now 90 percent finished. The remaining details and finishing touches will be completed after the kiln fire. This is my own somewhat unusual method. If you prefer, you could continue to perfect the statue while it is still unfired leather clay. Of course the statue is very heavy and very fragile and with one mistake you will create a fresh crack (that may never repair) or worse, you’ll create a crumbled mess on the floor. I prefer to play it safe and Low Fire to Bisque. This fired intermediate stage is much stronger and still very easy to carve and sand.
Patina is loosely defined as the outer covering of a painting, but where this outer covering ends is a topic for debate. What some commonly call the patina, others just call dirt. Don Williams dismisses these claims of intentional patina, “We have romantic visions of how things are supposed to look because we see these aged and degraded surfaces that have developed patina. But basically patina is a deterioration. I’m not saying that that is a valid or invalid preference, but it is a preference. And it is nothing more than a preference.”
Technical progress has left financiers and art restorers in the even hazier area of determining what the artist’s original intentions were. “Lasers are one of the most recent developments. They [art restorers] use lasers to clean surfaces. They say, ‘well lasers are safe because we use lasers on the eye and after all, the eye is the most sensitive organ. What kind of danger can happen? We can use it on a painting or sculpture.’ but with a laser it depends on how long you keep it in one place its not necessarily infallible, it’s a matter of millimeters, milliseconds.” Beck explains.
THEMES: What general ideas help connect this artwork to other artworks?
The overall form of Luis Jiménez Southwest Pieta, when viewed from the front, is a pyramid with the man’s head forming the apex and the rattlesnake at the edge of the drape forming the base. As one moves around the sculpture the organic forms of the man and woman seem to flow into each other.
Dalí painted one of his earliest known works, Landscape of Figueres, in 1910, when was about 6 years old. The oil-on-postcard work depicts a scene in his Catalonia hometown, and now hangs in the Salvador Dalí Museum in St. Petersburg, Florida. He also found success relatively early; he created his most iconic work, The Persistence of Memory, when he was just 27.
Upon its re-release in 1974, other readers were more impressed. A Publishers Weekly review trumpeted that it “deals brilliantly with love and lovers, war and death, passions and perversions,” while the Observer‘s John Melly wrote that it is “so full of visual invention, so witty, so charged with an almost Dickensian energy that it’s difficult not to accept its author’s own arrogant valuation of himself as a genius.”