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 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 him and you/he/she can easily be retouched. For this a' work of artistic gipsoteca is accessible to all the pockets.