Bronze Sculpture Research Articles

Neutron tomography studies of buddhist bronze sculptures

We have developed neutron tomography as a new tool to study the interior of ancient works of art. The present paper details the principles of the method and summarizes also some of the latest results, particularly concerning Mongolian Buddhist statues of the 17./18th century. It is shown that offering deposits made of organic and ceramic materials, even when fully enclosed in a cast metallic statue, can be examined in a non-invasive way. Within certain limits this concerns composition, size, structure and position of the interior deposits. Such studies can contribute to understand the history of ritual practices and their goals. They can also contribute to evaluate whether a statue has been properly cleaned and filled during consecration and is therefore fit for religious service. Such studies can also help to form an opinion of whether a statue is genuine.

Characteristics of foundries and alloy composition of modern and contemporary Korean artistic bronze

This study investigated the changes in foundries and production techniques of modern and contemporary Korean artistic bronze constructions from the 1910s to the 2000s. To determine the characteristics of foundries and changes in alloy composition based on era, interviews with key sculptors and foundry technicians, analysis of archival materials related to casting, and nondestructive X-ray fluorescence analysis of 92 bronze sculptures by Manlin Choi, were conducted. This study found that foundries for artistic bronze underwent technical and organizational changes from the 1910s to the 2000s. Modern casting techniques and foreign technologies have been introduced since the late 1960s that have resulted in various production methods. The portable X-ray fluorescence analysis of Manlin Choi’s 92 bronze sculptures revealed distinct differences in alloy composition depending on the foundry, findings that have also been supported by records (contracts, receipts, payment confirmations). This study systematically organizes the changes in foundries and production techniques of modern and contemporary Korean artistic bronze, identifying correlations between alloy composition and foundries, and is expected to provide important data for the future conservation and scientific authentication of artistic bronze.

Wound: creativity, the military and a sculpture inspired by faces, minds, and landscapes scarred by the weapons of war

ABSTRACT In reference to Alice Cree’s observation that the words ‘creativity’ and ‘military’ do not seem to ‘fit together comfortably’, the first section of this autoethnographic article critically explores my personal experiences and motivations as an artist working in close proximity to military culture. This creative practice-military relationship is examined in a variety of contexts, including designing war memorials, exhibiting in military museums, and actively participating in military, commemorative rituals. The potential risks – being co-opted by military agendas – and benefits – having a platform to use my creative voice to express the consequences of martial violence – are discussed. Focusing on one of my artworks, Wound (2022), the second section demonstrates the capability of creative practice to interrogate consequences of military (and by implication, state) violence. Wound is a bronze sculpture cast from an original First World War British Brodie helmet and a German Mauser rifle cartridge. By means of moulding, casting, and modelling processes, I reconfigured the original sources of armour and ammunition as a narrative site to metaphorically explore the ‘wounding’ and ‘healing’ of landscapes and human faces and minds. Through the allegorical interpretation of this artwork and by recounting personal experiences related to its research and creation, I discuss my creative practice as a memory artist and explain my motivations for making artworks that explore human violence and warfare. The article surveys other examples of visual art and human violence in war from classical antiquity to the present, with particular emphasis on the First World War.

Primera escultura oficial en bronce en Lusitania (Hispania)

The Romanisation of Lusitania (Hispania) took place in the time of Augustus, after the conquest of the Hispanic territory at the end of the 1st century BC. Bronze has largely disappeared from the archaeological remains, due to its constant reuse. In the early decorative programmes of some Lusitanian cities there are important traces of bronze sculptures. We present three examples: Sculptures from the provincial capital Augusta Emerita in its first public decorative phase in local granite and bronze, before the massive presence of marble; an equestrian statue from the forum of the colonia Norbensis Caesarina, perhaps representing its founding patron Lucius Cornelius Balbus, and an imperial statuary fragment from the Roman theatre of the colonia of Metellinum. They all date from the Augustan period and attest to the presence of important bronze workshops in the western part of the Empire.

New research on the Cleveland Apollo

This paper presents new technical details on the original manufacture and modern reconstruction of the Cleveland Apollo, a nearly life-size ancient bronze sculpture of the youthful god acquired by the Cleveland Museum of Art in 2004. Although previous studies had shown the sculpture to be an indirect lost-wax casting, few joins had been discussed in detail. Recent, more comprehensive radiographs, combined with extensive external and internal visual analysis, now permit a more thorough explanation of the assembly, from work on wax models through casting (in at least six sections), patching, and finishing, as well as post-manufacture damage. Together with radiography, analysis of numerous and varied modern restoration materials provides a fuller picture of the way the object was more recently re-assembled. A new digital 3D model of the sculpture, now available, will be essential for future study, interpretation, and display.

Applicability of Multi-coating for Preserving Surfaces of Outdoor Bronze sculptures

The wax used for surface coating of outdoor bronze sculptures is prone to material aging, surface cracking, and whitening due to environmental changes and air pollutants, leading to a shortened coating treatment cycle. To improve these material limitations, I explored the possibility of applying a multi-coating method that uses both acrylic resin and wax in an outdoor environment in Korea. The results of the experiment showed that the multi-coating method significantly improved the durability of the coating layer, weather resistance against external degrading factors, corrosion prevention ability, and contact angle, etc. compared to the existing wax-only coating method, and the rate of color change (ROC) was low, proving its stability. Especially, the double-coating method of acrylic resin and wax using acrylic urethane and Bowling Alley Wax® (acrylic resin + wax) was found to be the most stable coating method among the multi-coating methods. According to such results, I found that the multi-coating method can be proposed as a new surface coating treatment method that can secure long-term preservation of bronze sculptures and preserve their original form even in outdoor environments in Korea, by remedying the shortcomings of the wax-only coating.

Unforgetting: The Yarri and Jacky Jacky Memorial at Gundagai

ABSTRACT There is a sculpture in the main street of Gundagai (NSW, Australia) that honours two Wiradjuri men, Yarri and Jacky Jacky, local heroes in the Great Flood of 1852. Unveiled in 2017, the bronze sculpture depicts the two men and a scribbly-bark canoe used to save settler townspeople from the floodwaters. The sculpture, unmissable in the town’s centre, reminds even the most forgetful onlooker of colonialism. Unlike many Australian monuments, this statue does not memorialise and legitimise colonialism or celebrate nationalism and White male “heroes”. Rather, it is a testament to the Wiradjuri men’s bravery, skill and compassion. Standing before the monument, I was dumbstruck. Why? Despite settler-colonial violence, land theft, oppression and dismissals of Wiradjuri warnings, the men risked their lives. The statue slowed me down, interrupted my trajectory. The Yarri and Jacky Jacky memorial invites passers-by into a space of encounter, feeling and thoughtfulness. In response, I follow a plurality of stories and the tributaries of the imagination to weave a tale of a complex shared Aboriginal–settler past and present.

Phosphonic Acids as Corrosion Inhibitors and Adhesion Promoters for Organic Coatings and Bronze.

Currently used organic coatings for the protection of bronze sculptures have a relatively short lifespan as a consequence of strict requirements of conservation ethics, which limit the selection of coatings. For that reason, enhancement of the corrosion protection level and durability of appropriate coatings is needed. The aim of this work was to examine if corrosion protection of bronze by selected acrylic and polyurethane coatings could be improved by using two phosphonic acids, 16-phosphonohexadecanoic acid (COOH-PA) and 12-aminododecylphosphonic acid (NH2-PA). Electrochemical measurements (linear polarization and electrochemical impedance spectroscopy, EIS) were performed to gain an insight into the influence of these phosphonic acids on the performance of the coatings during a two-week exposure to artificial acid rain and a three-month outdoor exposure. Besides the influence on the corrosion protection level, the influence on the coating adhesion was examined as well. A pull-off test clearly confirmed that the studied phosphonic acids act as adhesion promoters of both polyurethane and acrylic coatings, while electrochemical studies revealed improvements in corrosion protection levels, especially in the case of the acrylic coating Paraloid B72.

Bronze Sculpture of Mara Vijaya of National Museum, Nepal: A Study of Iconographic Perspective

In Buddhism the images display the story and event of temptation of Mara to disturb and misguide devotion during the process of enlightenment of Siddhartha Gautam. The art which reflects this is called the icon of Mara Vijaya. The legend regarding the story of temptation of evil Mara over the good Sidhhartha Gautam can be found in several Buddhist texts. Due to the iconographic features and themes of the Buddha Jataka stories of temptation of Mara, the bronze sculpture of national museum is considered as an important specimen. The figures of Lord Buddha, demon Mara, his daughters, army troops, Ganesh and other animal’s figures have been sculptured in very attractive ways in this bronze relief. This paper explores the major iconographic features and to examine its importance as the bronze art heritage of Nepal. It employs qualitative approach and primary data and secondary information have been used. Required secondary information has been generated from journals, books and electronic versions of different sources while primary data have been collected by doing field study in national museum with in-depth observation of such relief.

Assessment of marine and urban-industrial environmental impact on stone acting as the base of a quaternary bronze sculpture

This work investigates the influence of a marine and urban-industrial environment on the deterioration of a funerary memorial in Getxo (Basque Country, Spain). The sculpture and artificial stone materials as well as their degradation products were characterised via a multi-analytical approach. An in situ characterisation of the bronze statue and its artificial limestone base was carried out with portable Energy Dispersive X-Ray Fluorescence (ED-XRF) and Raman spectrometers. In addition, several samples of white crusts as well as metal runoff crusts and biological patina were collected and some of them were prepared as cross-sections. High Resolution Micro-X-ray fluorescence and micro-Raman spectroscopy were used as non-destructive methods to detect original and degradation compounds. The test of soluble salts was also carried out on the samples and ion chromatography was employed in the laboratory. Exclusively calcite salt-efflorescences were found at the monument side with ED-XRF and Raman spectroscopy. While their morphology was compact at unsheltered sites, they showed a lamellar structure at sheltered locations, whose increased volume strongly influences the destruction of the memorial. The spectroscopic characterization of metal runoff showed that its excessive occurrence on the memorial surface was due to the dissolution of the copper-alloy caused by chemical reactivity with the surrounding acidic atmosphere. The formation of brochantite Cu4(SO4)(OH)6, posnjakite Cu4(SO4)(OH)6·(H2O), langite Cu4(SO4)(OH)6·2(H2O), or malachite Cu2(CO3)(OH)2 was favored exclusively in metal runoff crusts at unsheltered locations. However, much thinner crusts collected at sheltered sites showed a different composition, with copper species such as moolooite (Cu(C2O4)·nH2O) and atacamite Cu2Cl(OH)3. The soluble salt extraction showed a variable concentration of soluble ions depending on the area where the samples come from. The sample from north west sheltered location showed the highest content of sulfate, nitrate and chloride compounds. In addition, the concentration of fluoride and nitrate reflects the impact of contamination of surrounding industries.

X-ray fluorescence and µ-Raman analysis of bronze sculptures by Giuseppe Renda

In this work, the elemental and molecular composition of three different bronze sculptures by Giuseppe Renda (one of the most famous interpreters of the Neapolitan Verism in the 19th and 20th centuries), respectively named “La Fortuna”, “Scugnizzo” and “Non mi toccare”, was performed, for the first time and in a completely non-invasive way, through a combined approach involving portable X-ray fluorescence (XRF) and µ-Raman techniques. The analysis of the investigated artefacts was aimed at improving the knowledge of the Southern Italy bronze art of the second half of the 20th century, also in order to support the definition of optimized conservation strategies to be used by restorers in view of planning best restoration/cleaning interventions to minimize the conservation problems that could affect the durability of the precious artefacts.

Modernist Antagonisms and Material Reciprocities: Chase-Riboud’s Albino

This paper considers the material exchange initiated in the early sculptural practice of Barbara Chase-Riboud when she began to incorporate fiber into her bronze sculptures by looking closely at her 1972 work, The Albino. I suggest that Chase-Riboud staked a claim for sculpture as a symbolic site at which material knowledge might be transferred across time and space. The work’s negotiations open western sculptural practice to a hybridized form located within transhistorical associations that rework the alleged specificities of both craft and bronze into sites for the exchange of ideas and practices.

In-situ non destructive investigation of contemporary outdoor bronze sculptures

Indoor investigations are commonly used to assess the causes and extent of damage to bronze artwork and cultural heritage items; however, these methods typically involve destructive sampling and outdoor bronze sculptures are typically heavy and large, hindering their transport. In this study, 16 contemporary bronze sculptures exposed to outdoor environments for a period exceeding 20 years were evaluated in-situ to develop a non-destructive prediction model that can identify types of corrosion and quantify the amount of corrosion on bronze sculptures that cannot be easily transported. The sculptures were classified into three groups according to their patina chromaticity, reflectivity, and chemical composition. The corrosion characteristics were found to be copper oxide and sulfide patinas. Chromaticity and reflectivity investigations revealed that the chemical composition changes of the patinas corresponded to the formation of corrosion products, thus showing a high potential for the identification of the type of corrosion. Portable XRF spectroscopy showed that the low error rate of Cu make its compositional behavior a good indicator in identifying the type of corrosion of sulfide and chloride patinas. Portable Raman spectroscopy was able to detect basic sulfides such as brochantite, antlerite, and cuprite. The corrosion types and corrosion products on the bronze sculptures could be identified using chromaticity and reflectivity, portable X-ray fluorescence, and portable Raman spectroscopy. The rapid insitu diagnosis of these corrosion attributes is expected to contribute to establishing conservation treatment plans in the future.

Polychrome Bronze Sculpture: A Multi-Analytical Approach to Unveil the Renaissance Gilded Eagles in the Abbey of San Miniato al Monte, Florence

The gilded bronze eagles that stand upon the summit of the Tabernacle by Michelozzo in the Abbey of San Miniato al Monte, Florence (Italy) are an exquisite example of Italian Renaissance sculpture. Commissioned by Piero di Cosimo de Medici, the two eagles, representing the ancient Arte di Calimala, were cast and decorated by Maso di Bartolomeo in the 1448–1449 period. A multi-analytical approach was set up to characterize the state of conservation, materials used, and artistic technique of the eagles. Non-invasive methods were used and integrated with micro-invasive analyses, such as X-ray fluorescence (XRF) and Fourier-transform infrared (FTIR) spectroscopy, X-ray diffractometry on powders (XRPD), scanning electron microscopy coupled with EDS (SEM-EDS), and metallographic investigation. The results depict shiny-looking eagles, suggesting the use of oil gilding on almost all surfaces and revealing the presence of polychromies, which is almost unusual in XV-century bronze statuary and is initially hidden by deposits and corrosion products. Indeed, the paws were originally painted with azurite, while the use of cinnabar imparted a vivid red color to the tongue. A black paint containing mercury was found on the eyes and talons. The bales of cloth were decorated with silver, which is now almost completely lost and whose remains are not visible due to being tarnished, while fine details in gold were detected on the lanyard.

Conservation Processing of Modern and Contemporary Outdoor Bronze Sculptures

‘Pieta’(1980) by Se Choong Kim required scientific analysis and conservation treatment due to long outdoor exhibitions and paint on surface of bronze sculpture. However, there was a concern that the originality of artwork and ‘moral rights of the artist(the right of integrity)’ could be violated by including conservation treatment methods that were inevitably irreversible, such as removing the old layer and re-patination. Accordingly, the brown color that was mainly used during the artist’s lifetime, was selected as the patination color through collaboration with various stakeholders. As a result of analyzing the making technique of ‘Pieta’, it was found that it was cast in Cu-Zn-Sn-Pb quaternary art bronze. The material, methods, and environment at the time of making artwork were confirmed by comparing the result of scientific analysis of welding, repair, and defects with inerviews with casting engineers. The paint painted on the surface of the bronze sculpture was confirmed as painted twice with metalic paint mixed with polystyrene and copper powder and graphite-based paint. Laser cleaning was applied after a preliminary experiments to stably remove paint, and 95% of the paint layer area was uniformly removed as a result of comparing and analyzing the volume before and after removal through 3D scanning. Brown patina was applied through patination then wax coating to finish.

Corrosion Behaviors of Artificial Chloride Patina for Studying Bronze Sculpture Corrosion in Marine Environments

Copper trihydroxychlorides, which are known as “bronze disease”, are dangerous corrosion products that compromise the stability and conservation of bronze sculptures. Here, we performed artificial patina corrosion experiments on quaternary bronze (Cu-Zn-Sn-Pb) to examine the corrosion behavior of the chloride patina commonly found in bronze objects in marine environments. The chromaticity and reflectance of the patina in the context of the corrosion products indicate that copper trihydroxychloride, which is commonly found in a single color in marine environments, was produced early in the corrosion experiment. Furthermore, the corrosion of bronze had different effects on the alloying elements, contrary to pure copper corrosion. The chloride patina formed a single patina layer of copper trihydroxychlorides. This patina layer was divided into the outer porous powder and inner uniform layers. Furthermore, the interaction of oxygen in the atmosphere with the corrosion layer and internal oxidation of tin in the alloy promoted powdering. These results provide important basic data for research on sculpture conservation and corrosion characteristics, such as changes in color, chemical composition, and corrosion products on the patina surfaces of outdoor bronze sculptures.

Application of Bronze Sculpture Designs and Patterns in Painting

Application of Bronze Sculpture Designs and Patterns in Painting

Rendering the Forms of Displacement

Kuwaiti sculptor Sami Mohammed in his reflective show ‘Displacement’ moves from creating monochrome bronze sculptures that display specific regional catastrophes, toward offering thirty multi-hued contemporary paintings based on the notion of displacement in a global setting. He images the effects of globalization. Sami transitions his work to this “polyglot” culture in which his consciousness links the dissimilarities to synthesize the immigrant, the exile, the tourist, and the urban wanderer - the dominant figures of contemporary culture. He reflects on aspects such as “altermodernity,” constituting a “translation-oriented” modernity. His intervention, in kaleidoscopic styles and techniques, defines fragments of “medium-space-time.” He maps these as he wanders through continents and locations while he positions himself in translatable moving and affected environments. The global stage turns into a platform for an interchange of multitude portrayals of the world, in which Sami’s translation of ideas and imageries play a crucial role in dialogue that will give rise to a new shared intelligibility.

Corrosion Behaviors of Outdoor Bronze Sculptures in an Urban–Industrial Environment: Corrosion Experiment on Artificial Sulfide Patina

Copper alloys interact with air pollutants to form corrosion products and, consequently, a patina on outdoor bronze sculptures. In this study, corrosion experiments were conducted to clarify the corrosion behaviors of artificial sulfide patina in an urban–industrial environment on a quaternary bronze alloy (Cu–Zn–Sn–Pb) with a composition and metallurgical properties similar to those of outdoor bronze sculptures. The correlation between the chromaticity and reflectance of the patina revealed increasing brochantite with the corrosion of the patina and an association between the chromaticity a* and patina growth. Cuprite and brochantite were distinguished, and the point at which brochantite covered the patina surface was determined. The quantitative changes in brochantite were mainly influenced by physical causes such as the crystal size and patina layer thickness as well as by Cu2+ ions working as color formation ions moving to the outermost layer. Atmospheric corrosion of the alloy resulted in reduced Cu and Zn contents and increased Sn and Pb contents. The patina consisted of brochantite in the outermost layer and cuprite and cassiterite in the inner layers. These findings should clarify corrosion characteristics such as the surface color, composition, and changes in corrosion products of outdoor bronze sculptures and contribute toward their preservation.

A new bronze sculpture of Horus

A new bronze sculpture of Horus