Marble sculpture

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Marble Sculpture
Aphaia pediment Paris W-XI Glyptothek Munich 81.jpg
Istanbul - Museo archeologico - Mostra sul colore nell'antichita 08 - Foto G. Dall'Orto 28-5-2006.jpg
An ancient Greek marble Trojan archer sculpture from the Temple of Aphaia missing original paint (left), and a re-creation of the same polychromy sculpture based on archaeological remnants of paint found on the marble surface (right) [1] Most ancient European marble sculptures were painted. [2]
Lorenzo Bartolini, (Italian, 1777-1850), La Table aux Amours (The Demidoff Table), Metropolitan Museum of Art, New York City, Marble sculpture La Table aux Amours (The Demidoff Table).JPG
Lorenzo Bartolini, (Italian, 1777–1850), La Table aux Amours (The Demidoff Table), Metropolitan Museum of Art, New York City, Marble sculpture

Marble has been the preferred material for stone monumental sculpture since ancient times, with several advantages over its more common geological "parent" limestone, in particular the ability to absorb light a small distance into the surface before refracting it in subsurface scattering. This gives an attractive soft appearance that is especially good for representing human skin, which can also be polished. [3]

Contents

Of the many different types of marble the pure white ones are generally used for sculpture, with coloured ones preferred for many architectural and decorative uses. The degree of hardness is right to carve without too much difficulty, but still give a very durable result, if not exposed to acid rain or seawater. [4]

Famous individual types and quarries include from classical times Parian marble from Paros, used for the Venus de Milo and many other Ancient Greek sculptures, and Pentelic marble, from near Athens, used for most of the Parthenon sculptures, and by the Romans. [5] Carrara marble from northern Italy was used by the Romans, and very extensively up to recent decades, when the pure white statuario grade more or less ran out. This was used by Michelangelo and other Renaissance sculptors, and later exported, including to America. [6]

Material origin and qualities

Thomas Ridgeway Gould. The West Wind. (profile) 1876. TheWestWindByGouldSide.jpg
Thomas Ridgeway Gould. The West Wind. (profile) 1876.
Comedy by Victor-Edmond Leharivel-Durocher Comedy by Victor-Edmond Leharivel-Durocher-MG 850-IMG 0991-black.jpg
Comedy by Victor-Edmond Leharivel-Durocher

Marble is a metamorphic rock derived from limestone, composed mostly of calcite (a crystalline form of calcium carbonate, CaCO3). The original source of the parent limestone is the seabed deposition of calcium carbonate in the form of microscopic animal skeletons or similar materials. Marble is formed when the limestone is transformed by heat and pressure after being overlain by other materials. The finest marbles for sculpture have no or few stains, though natural stains can be incorporated into the work itself.

Advantages

Among the commonly available stones, only marble has a slight translucency i.e. subsurface scattering that is comparable to that of human skin. It is this translucency that gives a marble sculpture a visual depth beyond its surface and this evokes a certain realism when used for figurative works. Some types of marble also have the advantage that, when first quarried, it is relatively soft and easy to work, refine, and polish.[ citation needed ] As the finished marble ages, it becomes harder and more durable. Preference to the cheaper and less translucent limestone is based largely on the fineness of marble's grain, which enables the sculptor to render minute detail in a manner not always possible with limestone. In contrast to limestone, marble is also extremely weather-resistant. As a result, surface changes due to the immediate environment are not always visible to the naked eye. This feature can pose challenges when dating ancient works. [7]

Disadvantages

Marble sculptors must be careful when handling their materials, as the stone can absorb skin oils and develop yellow or brown stains. While more resistant than limestone it is subject to attack by weak acids, and so performs poorly in outdoor environments subject to acid rain. For severe environments, granite is a more lasting material but one which is far more difficult to work and much less suitable for refined works. Compared to metals such as bronze, furthermore, marble is inflexible and vulnerable to fracturing. This drawback means that sculptors must incorporate specific supporting features into the sculpture to prevent collapse. In Thomas Ridgeway Gould's The West Wind, for example, he poised the figure's short and slender ankles delicately upon the balls of her small feet. This would not be possible without the deliberate decision by Gould to distribute almost all of the marble's weight to her massive, flowing skirt. Unlike bronze sculpture, this statue is not hollow; her drapery is one solid block of marble. [8]

Developing a sculpture

Diana of Versailles statue in the Louvre: note use of skirt, tree stump, and stag for support of the body and lower arm and the "pinning" of the upper arm to the arrows in the quiver, forming several closed loops that are thus stronger Diana of Versailles.jpg
Diana of Versailles statue in the Louvre: note use of skirt, tree stump, and stag for support of the body and lower arm and the "pinning" of the upper arm to the arrows in the quiver, forming several closed loops that are thus stronger
A pitching tool for carving stone Jop.JPG
A pitching tool for carving stone

Sculptors usually begin by knocking off, or "pitching," large portions of unwanted stone. A suitable tool for this task is a point chisel, which is a long, hefty piece of steel with a point at one end and a broad striking surface at the other. A pitching tool may also be used at this early stage, which is a wedge-shaped chisel with a broad, flat edge. The pitching tool is useful for splitting the stone and removing large, unwanted chunks.

The sculptor may also use a mallet, which is similar to a hammer with a broad, barrel-shaped head. When the mallet connects to the tool, energy is transferred through the tool, shattering the stone. Most sculptors work rhythmically, turning the tool with each blow so that the stone is removed quickly and evenly. This is the "roughing out" stage of the sculpting process. While a mallet provides the force needed to fracture the marble, it must be used accurately. The smallest miscalculation can ruin the intended sculpture and even injure the sculptor.

Some artists prefer to carve directly onto the stone, without a model; the Renaissance artist Michelangelo, for example, claimed that his job was to free the human form trapped inside the block. Other artists sculpt a preliminary model out of clay or wax and then translate its features to stone through the use of calipers or a pointing machine.

Once the general shape of the statue has been determined, the sculptor uses other tools to refine the figure. A toothed chisel or claw chisel has multiple gouging surfaces which create parallel lines in the stone. These tools are generally used to add texture to the figure. An artist might mark out specific lines by using calipers to measure an area of stone to be addressed and marking the removal area with pencil, charcoal or chalk. The stone carver generally uses a shallower stroke at this point in the process.

Eventually, the sculptor has changed the stone from a rough block into the general shape of the finished statue. Tools called rasps and rifflers are then used to enhance the shape into its final form. A rasp is a flat, steel tool with a coarse surface. The sculptor uses broad, sweeping strokes to remove excess stone as small chips or dust. A riffler is a smaller variation of the rasp, which can be used to create details such as folds of clothing or locks of hair.

Polishing is the last step of the carving process. Sculptors use a variety of fine, abrasive materials such as sandpaper or emery paper to highlight patterns in the stone and to accentuate its natural sheen. [9] Some sculptors may also use tin oxide to achieve a high-lustre polish. Regardless of the method, however, a glossy marble sculpture will appear more translucent than one that has not been polished. [10]

Tools

External videos
Marble sculpture - Rodin.jpg
Nuvola apps kaboodle.svg Carving Marble with Traditional Tools, (2:47), J. Paul Getty Museum

The Italian terms for the basic carving tools of stone sculpture are given here, and where possible the English terms have been included.

In addition to those hand tools listed above, the marble sculptor uses a variety of hammers – both for the striking of edge tools (chisels and hand drills) and for striking the stone directly (Bocciarda a Martello in Italian, Boucharde in French, Bush Hammer in English). Following the work of the hammer and chisel, the sculptor will sometimes refine the form further through the use of rasps, files and abrasive rubbing stones and/or sandpaper to smooth the surface contours of the form.

Tool technique

Winged Victory of Samothrace, Hellenistic marble sculpture of the 3rd century BC Statue of winged Nike (Paris 2002).jpg
Winged Victory of Samothrace , Hellenistic marble sculpture of the 3rd century BC

Hammer and point work is the technique used in working stone, in use at least since Roman times, as it is described in the legend of Pygmalion, and even earlier, the ancient Greek sculptors used it from c.650 BC. It consists of holding the pointed chisel against the stone and swinging the hammer at it as hard as possible. When the hammer connects with the striking end of the chisel, its energy is transferred down the length and concentrates on a single point on the surface of the block, breaking the stone. This is continued in a line following the desired contour. It may sound simple but many months are required to attain competency. A good stone worker can maintain a rhythm of relatively longer blows (about one per second), swinging the hammer in a wider arc, lifting the chisel between blows to flick out any chips that remain in the way, and repositioning it for the next blow. This way, one can drive the point deeper into the stone and remove more material at a time. Some stoneworkers also spin the subbia in their fingers between hammer blows, thus applying with each blow a different part of the point to the stone. This helps prevent the point from breaking.

Automation and robotic carving techniques

Some contemporary sculptors use advanced robots and automation software to help them create carved works in marble. A 2021 New York Times article describes how robots like ABB2, a 13-foot zinc-alloy robotic arm located in Carrara, Italy, mill marble slabs to fit designs created by artists from the United States, Great Britain, and elsewhere. [11]

Artists often blend robotic carving with hand carving. The process begins with digital files artists create to guide their robotic carving systems. “The data drives computer-controlled, stone-carving machines that use diamond and carbide bits that slowly mill away a rough version of the sculpture,” described New York sculptor Barry X Ball in a 2020 interview. “Then, we take it from there.” Ball's sculpture Sleeping Hermaphrodite required 10,000 hours of hand-sculpting after the initial robot sculpting phase was completed. [12]

While some artists and scholars criticize the use of robot technology in marble sculpture, others see it as a natural evolution of the classical tradition. In a 2021 article, art historian Marco Ciampolini stated that many of history's greatest artists, including Michelangelo, delegated work to apprentices, and that the only difference between that practice and the use of digital automation is the fact that modern-day helpers are robots, rather than humans. [13]

The 1st-century BC sculpture 'The Reclining Hermaphroditus', in the Museo Nazionale Romano, Palazzo Massimo Alle Terme in Rome RecliningHermaphrodite.jpg
The 1st-century BC sculpture 'The Reclining Hermaphroditus', in the Museo Nazionale Romano, Palazzo Massimo Alle Terme in Rome

See also

Related Research Articles

<span class="mw-page-title-main">Hammer</span> Tool consisting of a shaft with a weighted head attached at a right angle

A hammer is a tool, most often a hand tool, consisting of a weighted "head" fixed to a long handle that is swung to deliver an impact to a small area of an object. This can be, for example, to drive nails into wood, to shape metal, or to crush rock. Hammers are used for a wide range of driving, shaping, breaking and non-destructive striking applications. Traditional disciplines include carpentry, blacksmithing, warfare, and percussive musicianship.

<i>David</i> (Michelangelo) Renaissance statue in Florence, Italy

David is a masterpiece of Italian Renaissance sculpture, created from 1501 to 1504 by Michelangelo. With a height of 5.17 metres, the David was the first colossal marble statue made in the early modern period following classical antiquity, a precedent for the 16th century and beyond. David was originally commissioned as one of a series of statues of twelve prophets to be positioned along the roofline of the east end of Florence Cathedral, but was instead placed in the public square in front of the Palazzo della Signoria, the seat of civic government in Florence, where it was unveiled on 8 September 1504. In 1873, the statue was moved to the Galleria dell'Accademia, Florence, and in 1910 replaced at the original location by a replica.

<span class="mw-page-title-main">Chisel</span> Tool for cutting and carving

A chisel is a tool with a characteristically shaped cutting edge of blade on its end; for carving or cutting a hard material such as wood, stone, or metal by hand, struck with a mallet, or mechanical power. The handle and blade of some types of chisel are made of metal or wood with a sharp edge in it.

<span class="mw-page-title-main">Stonemasonry</span> Creation of buildings, structures, and sculpture using stone

Stonemasonry or stonecraft is the creation of buildings, structures, and sculpture using stone as the primary material. Stonemasonry is the craft of shaping and arranging stones, often together with mortar and even the ancient lime mortar, to wall or cover formed structures.

<span class="mw-page-title-main">Wood carving</span> Form of working wood by means of a cutting tool

Wood carving is a form of woodworking by means of a cutting tool (knife) in one hand or a chisel by two hands or with one hand on a chisel and one hand on a mallet, resulting in a wooden figure or figurine, or in the sculptural ornamentation of a wooden object. The phrase may also refer to the finished product, from individual sculptures to hand-worked mouldings composing part of a tracery.

<span class="mw-page-title-main">Stone carving</span> The act of shaping stone materials

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<span class="mw-page-title-main">Mallet</span> Tool for striking the workpiece or another tool with a relatively large head

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This page describe terms and jargon related to sculpture and sculpting.

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<i>The Agony and the Ecstasy</i> (novel) 1961 novel by Irving Stone

The Agony and the Ecstasy (1961) is a biographical novel of Michelangelo Buonarroti written by American author Irving Stone. Stone lived in Italy for years visiting many of the locations in Rome and Florence, worked in marble quarries, and apprenticed himself to a marble sculptor. A primary source for the novel is Michelangelo's correspondence, all 495 letters of which Stone had translated from Italian by Charles Speroni and published in 1962 as I, Michelangelo, Sculptor. Stone also collaborated with Canadian sculptor Stanley Lewis, who researched Michelangelo's carving technique and tools. The Italian government lauded Stone with several honorary awards for his cultural achievements highlighting Italian history.

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<span class="mw-page-title-main">Pointing machine</span> Sculpting tool

A pointing machine is a measuring tool used by stone sculptors and woodcarvers to accurately copy plaster, clay or wax sculpture models into wood or stone. In essence the device is a pointing needle that can be set to any position and then fixed. It further consists of brass or stainless steel rods and joints which can be placed into any position and then tightened. It is not actually a machine; its name is derived from the Italian macchinetta di punta. The invention of the tool has been ascribed to both the French sculptor and medallist Nicolas-Marie Gatteaux (1751–1832) and to the British sculptor John Bacon (1740–1799). It was later perfected by Canova. However, similar devices were used in ancient times, when the copying of Greek sculptures for the Roman market was a large industry.

<i>Battle of the Centaurs</i> (Michelangelo) Sculpture by Michelangelo

Battle of the Centaurs is a relief sculpture by the Italian Renaissance artist Michelangelo, created around 1492. It was the last work Michelangelo created while under the patronage of Lorenzo de' Medici, who died shortly after its completion. Inspired by a classical relief created by Bertoldo di Giovanni, the marble sculpture represents the mythic battle between the Lapiths and the Centaurs. A popular subject of art in ancient Greece, the story was suggested to Michelangelo by the classical scholar and poet Poliziano. The sculpture is exhibited in the Casa Buonarroti in Florence, Italy.

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Márton Váró is a Hungarian sculptor, recognized for his monumental public art.

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The Compleat Sculptor, Inc., is an American retailer of sculpture supplies. Established in New York City in 1995 as a comprehensive source of sculptural materials and tools, it is one of the largest sculptural materials suppliers in the world. It also provides classes and related services for professional sculptors, as well as other users of sculptural materials, such as movie and television set designers and law enforcement forensic teams.

<span class="mw-page-title-main">Stone carving in Odisha</span> Ancient stone sculpting practice

Stone carving in Odisha is the ancient practice of sculpting stone into art and utilitarian objects. It is an ancient practice in the Indian state of Odisha. Stone carving is practiced by artisans mainly in Puri, Bhubaneswar and Lalitgiri in the Cuttack district, though some carvings can be found in Khiching in the Mayurbhanj District. Stone carving is one of the major handcrafts of Odisha. The art form primarily consists of custom carved works, with the Sun Temple of Konark and its intricate sculpture and delicate carvings on the red vivid sandstone exemplifying the practice. Other noteworthy monuments include the Stupas of Udayagiri and Ratnagiri and the temples at Jagannath, Lingaraj, Mukteshwar and as well as other temples in the region.

Cumulus is a monumental sculpture carved from Italian marble and based on the dimensions and weight of an atmospheric cumulus cloud. The work was created in 2017 by American artist Karen LaMonte and first displayed at the Glasstress exhibition during the 57th Venice Biennale. Cumulus stands seven feet tall, weighs two-and-a-half tons, and was carved by hand and robot. LaMonte worked with scientists from the California Institute of Technology, who used a supercomputer and weather modelling software to generate a three-dimensional cloud surface for LaMonte to replicate in stone.

References

  1. "Classical Marble Sculptures Were Actually Painted, Lost Color Over Time". mymodernmet.com. 17 April 2020. Retrieved 20 May 2021.
  2. Talbot, Margaret. "The Myth of Whiteness in Classical Sculpture". The New Yorker. Retrieved 20 May 2021.
  3. "Marble", Britannica Online Encyclopaedia. Britannica.com.; [http://www.artofmaking.ac.uk/explore/materials/5/Marble Kings, "Material, Marble"; Clarke, Michael, The Concise Oxford Dictionary of Art Terms, p.148, 2001, Oxford University Press, ISBN   9780192800435
  4. "Marble", Britannica Online Encyclopaedia. Britannica.com.; Clarke, Michael, The Concise Oxford Dictionary of Art Terms, p.148, 2001, Oxford University Press, ISBN   9780192800435
  5. Kings, "Material, Pentelic Marble"; "RECENT STABLE ISOTOPE STUDIES OF THE MOUNT PENTELIKON AND PARIAN WHITE MARBLE QUARRIES: A CALL FOR RIGOROUS GEOLOGIC FIELD WORK IN MARBLE PROVENANCE STUDIES". gsa.confex.com. Retrieved 5 December 2018.
  6. Kings, "Material, Luna Marble"
  7. Margolis, Stanley V (1989). "Authenticating Ancient Marble Sculpture". Scientific American. 260 (6): 104–11. Bibcode:1989SciAm.260f.104M. doi:10.1038/scientificamerican0689-104.
  8. For a description of the greater flexibility of bronze sculptures and the ease with which action and extension may be expressed through bronze, see bronze sculpture. Note especially the sculpture Jeté.
  9. Marble Sculpture (c.600 BCE - present), Encyclopedia of Sculpture
  10. Fleming, Roland W.; et al. (2004). "Perceiving Translucent Materials". Journal of Vision. 4 (8): 133. doi: 10.1167/4.8.119 . Retrieved 29 December 2018.
  11. Bubola, Emma (11 July 2021). "'We Don't Need Another Michelangelo': In Italy, It's Robots' Turn to Sculpt". The New York Times. ISSN   0362-4331 . Retrieved 21 April 2022.
  12. "Recreating Marble Masterpieces With The Help of Robot Millers And 3D Scanners". Art&Seek. 28 January 2020. Retrieved 21 April 2022.
  13. "Sculpting robots chisel art out of marble". Freethink. Retrieved 21 April 2022.