Sculpture Materials Research Articles

Enhanced mechanical properties of 3D printed concrete sculpture material with wood fibers reinforcement

This study examined the mechanical characteristics of 3D printed concrete utilized in sculpture materials, with an emphasis on the incorporation of wood fibers. A series of experiments were conducted to probe into the wood fiber-reinforced 3D printed concrete sculpture materials. Through mechanical and microscopic examinations, the role of flexible fibers in enhancing the bearing capacity of concrete 3D printed components was investigated. The results indicated that an optimal amount of wood fiber addition significantly improved the mechanical properties of the concrete sculpture materials. At the interlayer interface, wood fibers exhibited elongation, thereby mitigating the specimen damage. However, beyond a certain threshold, the mechanical properties tended to decline due to either the agglomeration or direct dislodgment of wood fibers at the interlayer interface, which resulted in an absence of notable deformation. This scenario thereby failed to impede crack propagation. Hydrophobic performance assays revealed an elevation in surface hydrophobicity of 3D printed concrete sculpture materials with the inclusion of wood fibers. Yet, an excessive amount of wood fibers caused a gradual reduction in the contact angle, implying a decrease in the hydrophobicity of the material surface.

In Search of the Phoenix in Eighteenth-Century Naples

Abstract Raimondo di Sangro (1710–1771), Prince of Sansevero, is renowned for having made experiences on mineral palingenesis, among other things. This multidisciplinary article brings together approaches and methodologies of the history of science and of mineralogy, and presents innovative results obtained during two distinct surveys at the Museo Cappella Sansevero. It focuses on the techniques Raimondo implemented to create the blue and red pigments which he used to adorn the family chapel, as well as on his choice to use fluorite as a sculptural material. Our analyses confirm for the first time that the Prince of Sansevero was able to create artificial ultramarine. As of today, this seems to be the earliest ever recorded example of the production of this artificial pigment. Consequently, this study suggests that historical sources documenting di Sangro’s experiences should be seriously reconsidered. This article also contextualises Raimondo’s efforts within the Neapolitan networks of Freemasons, engravers and antiquarians.

Cost-Effective and Eco-Friendly Sculptural Materials from Recyclable Waste Materials for the Teaching and Learning of Sculpture in Ghana

The global search for more eco-friendly, cost-effective and alternative sculpture materials to be used in the deployment of teaching and learning has been pursued by scholars in sculpture lately. This has been driven by the need to find alternative sculpture materials in the local environment of students, especially waste materials to replace the expensive conventional sculpture materials that cannot be purchased by majority of the students at the Senior School level in Ghana. Therefore, the purpose of this study was to experiment with various recyclable environmental waste materials such as styrofoam food containers, teak leaves and water sachets to find out if they could be potential cast materials for use during practical lessons in sculpture. The inquiry was carried out using the studio-based research design under the qualitative research methods. The material choice, binders used, recycling procedural steps and their casting processes. Moreover, the strengths and weaknesses in each of the recyclable waste materials as cast materials in comparison with the conventional sculpture materials such as Plaster of Paris, Cement, and resin were detailed. The results showed that aside from the cost-effectiveness and eco-friendly nature of the recyclable waste materials, they possessed significant properties similar to the conventional materials such as hardness, tensile strength, and natural textural qualities. The study contends that sculpture teachers must assist their students to be innovative in exploring the local waste materials as potential materials to be used for sculptural production for their sculpture practical lessons.

Feverish Thumbs: Ceroplastic Tools

May 01 2023 Feverish Thumbs: Ceroplastic Tools Emily Madrigal Emily Madrigal Emily Madrigal is a PhD student in Art & Architectural History at the University of Virginia. Her research focuses on the materials of sculpture, specifically plaster in nineteenth-century France. She received her B. A. in studio arts from Princeton University, worked as a studio assistant for New York-based sculptor Martha Friedman, and studied at Penland School of Craft, all of which inform her understanding of material histories from an embodied perspective. She received her M. A. from the Williams College Graduate Program in the History of Art at the Clark Art Institute in Massachusetts, where her qualifying paper was title ”Reverse Pygmalions: Plaster in Édouard Dantan's Atelier Paintings.” Search for other works by this author on: This Site Google Scholar Author and Article Information Emily Madrigal Emily Madrigal is a PhD student in Art & Architectural History at the University of Virginia. Her research focuses on the materials of sculpture, specifically plaster in nineteenth-century France. She received her B. A. in studio arts from Princeton University, worked as a studio assistant for New York-based sculptor Martha Friedman, and studied at Penland School of Craft, all of which inform her understanding of material histories from an embodied perspective. She received her M. A. from the Williams College Graduate Program in the History of Art at the Clark Art Institute in Massachusetts, where her qualifying paper was title ”Reverse Pygmalions: Plaster in Édouard Dantan's Atelier Paintings.” Online ISSN: 2572-7338 Print ISSN: 1091-711X © 2023 Emily Madrigal2023Emily Madrigal Thresholds (2023) (51): 86–89. https://doi.org/10.1162/thld_a_00793 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Emily Madrigal; Feverish Thumbs: Ceroplastic Tools. Thresholds 2023; (51): 86–89. doi: https://doi.org/10.1162/thld_a_00793 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsThresholds Search Advanced Search This content is only available as a PDF. © 2023 Emily Madrigal2023Emily Madrigal Article PDF first page preview Close Modal You do not currently have access to this content.

THE IMAGE OF A RUSSIAN BALLERINA IN GERMAN PORCELAIN

The article analyses the characteristics of the Russian ballerina image on the products of German small porcelain sculpture. The main stylistic and artistic sources of images of dancers and ballet dancers are considered. The cultural context of small sculpture art dedicated to ballet is given. Performances and ballet images are compared with porcelain items produced on their basis. The main similarities and differences are considered. The reasons for these differences are analysed. The article considers the influence of the Russian Seasons on German porcelain in the context of European culture as well as a particular manifestation of it. Also, the works of P.Scheurich, H.Meisel and H.Lederer are taken into account. In the case of Scheurich, the main stages of creativity associated with images inspired by ballet are highlighted. In the case of Meisel and Lederer, the key series related to dance are studied. The artistic features of small porcelain sculpture series, including Carnival, and the series created by Meisel and Lederer in collaboration with Anna Pavlova are analysed. While the works of Scheurich bore the imprint of the rocaille tendencies characteristic of German porcelain, the work of two other artists, Meisel and Lederer, embodied the influences of modernity. The main trends in the design of porcelain figurines are shown: the addition of decorative elements and colours to the original is one of them, monochromaticism and an emphasis on movement is the other. The main stylistic variations within the framework of individual artists’ work are traced. The primary features of the material of small porcelain sculpture and the artistic limitations imposed by them are analysed. The key methods of artistic adaptation of costumes and poses to the material, porcelain, and the tastes of the era are considered. The influence of the Commedia dell'Arte on the Russian ballets and on Scheurich’s work, and works created by Anna Pavlova on Meisel and Lederer’s work is demonstrated. The main visual features of the masters’ most famous products are considered. The interpretation of the key motifs found on the products of German small porcelain sculpture of the first half of the 20th century is presented. Thus, a multilateral assessment is given to the work of Scheurich, Meisel and Lederer.

Reducing cost and ensuring environmental sustainability: Palm kernel expeller as an alternative sculpture material for casting in Ghana

The materials for sculpture in Ghana have always been clay, wood, cement, resin, and silicon. These materials have their limitations. Also, some students do not have the financial strength to purchase them because they are expensive. This situation slows down the pace in the teaching and learning of practical activities in the Sculpture discipline in most Ghanaian educational institutions. Owing to this, the researchers explored the possibility of experimenting with local materials in the home regions of students which could have otherwise been a nuisance in the environment as alternative sculptural materials. The researchers adopted the Double Helix of Praxis Exegesis Model, which is an arts-based method undergird in the eco-innovation theory to investigate the possibility of using palm kernel which is abundant in the Anloga Sobolo community, Kumasi, Ghana as an alternative material for modeling, casting, and carving. The palm kernel expellers were prepared by collecting the kernel, cracking, firing, milling, and cooking to extract the oil, and then the expeller. The palm kernel expellers were mixed with selected binders to produce aesthetically pleasing modeled, cast, and carved works. Findings revealed that palm kernel expeller is non-toxic, environmentally friendly, and cost-effective alternative material for sculpture. The study contends that teachers and students in the sculpture discipline in the various Senior High and tertiary educational institutions in Ghana should constantly explore waste local materials as alternative materials for practical activities in sculpture to reduce cost and to serve as a tool for ensuring environmental sustainability.

3D digital technologies applied to the design and printing of auxiliary structures for fragment adhesion strategies on wax artifacts

Three-dimensional models of anatomy in wax preserved in university museums are rare artifacts of extraordinary technical complexity. In recent years, interest in them has increased among scholars who consider them primary sources of heritage value to approach material culture and the history of science. The fragility of the sculptural material and the inadequate exhibition and storage conditions of many of these collections have caused the formation of pathologies whose conservation treatment is a great challenge for the restorer. In this regard, new 3D digital technologies have created a great impact on the documentation and analysis of interventions in the field of conservation and restoration of cultural heritage. This research aims to demonstrate the technical possibilities offered by 3D digital systems as support tools in curative conservation strategies to mechanically stabilize fragmented sculptural parts. For this case study, we chose an 18th-century obstetric anatomical model made by the Madrid Court sculptor Juan Cháez, and the modeler Luigi Franceschi who belonged to the anatomical cabinet of the Royal College of Surgery of San Carlos in Madrid. In this work, we demonstrate the digitization process carried out employing structured light scanners, digital modeling, and 3D printing. The aim is to create auxiliary structures suitable to support the various original pieces to be adhered while guaranteeing their exact position during the adhesive curing process as well as the volumetric reintegration of faults. In addition tensile and three point bending tests for the mechanical characterization of the selected thermoplastic impression materials are described. Finally, the qualities considered suitable for the most appropriate material for the purpose of the study are detailed. Promising results were obtained since the structures have made it possible to perform fragment adhesions in highly complex areas of the sculpture, ensuring maximum precision, safety, and efficiency during the process.

Objects Can Be Unintentionally Beautiful. Feminist Ekphrasis, Photography and Spectatorship in Mary Jo Bang's and Bernadette Mayer's Poetry

In 1981, Laura Mulvey famously amended her original contentions in “Visual Pleasure” (1973) to introduce the notion of a “female gaze.” Through ekphrastic poems—lyric representationsof visual art—contemporary women poets have also questioned the plausibility of a (female) polyvocal viewing subject, especially when poeticizing photographic and sculptural material. This essay analyzes and compares Mary Jo Bang’s and Bernadette Mayer’s examples of ekphrasis, focusing on their feminist revitalization of the inanimate object through linguistic devices. In my close readings, I most notably propose a link between these poetic renderings and Katherine Behar’s ironic reinterpretation of Levi Bryant’s Object-Oriented Ontology (OOO) in her book Object Oriented Feminism (2016). Following this rhetoric, I reflect on the poets’ blurring of the problematic subject/object dichotomy by means of formal experimentation. The oeuvres of both Bang and Mayer, all in all, highlight the efforts of contemporary feminist experimentalism to dismiss hierarchies and provide a space for the inbetween, anti-logocentric—and anti-patriarchal—poetic reality.

Strengthening Literacy of Cultural Arts and Crafts in the Material of Sculpture for 6th-grade Elementary School Students through Learning Video Media

The purpose of this study was to determine and improve students' understanding of literacy through learning video media. Based on previous research, there are not too many studies that discuss Strengthening Literacy for Learning Arts, Culture and Crafts in Sculpture Artwork Materials for 6th-grade elementary school students. This study uses a quantitative approach to pre-experimental design in the form of pre-test and post-test. Based on the results of the research that has been carried out, before providing an understanding of the material of Sculpture in the students' understanding of Cultural Arts and Crafts learning, the results of the pre-test only reached an average value of 61.0% then an increase occurred after the learning video media was given, the post-test results the test given increased by 90.28%. The results showed that the difference was 29.28%. So, it can be concluded that the use of instructional video media on the material of sculptures learning Arts, Culture and Crafts can improve students' knowledge literacy.

Space Around of Nazar Bilyk: Based on interviews with the sculptor 2017–2019

Based on a series of interviews in 2017–2019, coupled with the analytical and applied research of art historians, the theoretical views of the modern Ukrainian sculptor Nazar Bilyk (b. 1979) are considered. First, attention is focused on the peculiarities of the artist’s attitude to the perception of the results of his work in the urban architectural and leisure environment (public art). Secondly, on the formulation of theoretical generalizations regarding the nature of the sculptural form, the properties of its material and the nature of its interaction with space. Thirdly, on how these theoretical generalizations are reflected in Bilyk’s work, based on his statements and interpreting them. In particular, it is shown that in the case of the project “Space Around” (since 2013), the real material of sculpture is precisely the environment for which the sculptural form, created as a “heap of mass”, is a shortage; but such an important lack, which can be supplemented to a natural “perfection” by the absence of mass, and not its presence. In this case, the spatial integrity of the form only grows stronger from this expressive lack

Material Transformations of Antique Sculpture in Contemporary Art

In the twenty-first century, famous antique statues have been reinterpreted by artists of very different backgrounds. A characteristic feature of the contemporary artwork is the use of unconventional sculptural materials such as paper, soap, concrete, polycarbonate and metal cans. In the dialogue called the Cratylus, Socrates explains that ‘images are far from possessing the same qualities as the originals they imitate’ (432d). Socrates refers to the relationship between an image (eikon) and its human model, but much the same can be said about the relationship between the new images and their ancient art-historical models. Aristotle holds that matter (hyle) is separate from form (eidos). In the contemporary works, the matter is changed – e.g. from marble to hydrostone or from bronze to concrete – but the form is preserved. The antique statue is the underlying thing (Aristotle’s hypokeimenon) that persists through the material changes. The article presents some of the ways that European, Asian and American artists, in the second decade of the twenty-first century, transform the appearance of renowned antique statues.

A ‘milky mass’ and ‘uniform material’: white marble in eighteenth-century French discourses on sculpture and geology

Knowledge of the materiality of stone during the Enlightenment expanded following the exploration of mineralogical structure, to alter ideas about taxonomy and challenge the role of rocks in the history of the earth. Close studies of the material of marble sculpture generated expertise on grain size, surface varieties and stone deposits. This mode of reception became intertwined with contemporary controversies about the age of the earth. This article focuses on both French sculpture and geological discourses of the eighteenth century to reveal an international and interdisciplinary network centring on protagonists such as Denis Diderot, Paul-Henri Thiry d’Holbach and Étienne-Maurice Falconet; through these figures, debates can be connected concerning both geology and art theory. Within these contexts, the article discusses the translation processes between these artistic and geological interests.

Craftsmanship and materials: painted Bodhisattva sculptures in the Fengguo Temple dated to the year 1020\xa0in Yi County, Northeast China

As a royal temple, the Fengguo Temple has profound historical, artistic, scientific and social values. With a thousand-year history, it is one of the three existing temples of the Liao Dynasty in China. Now there remains the Main Hall with delicate wall paintings and vivid painted sculptures. The research subject of this paper is the painted Bodhisattva sculptures in the Main Hall. The study target is to reveal the craftsmanship and materials of the painted Bodhisattva sculptures. X-ray detection and the ground-penetrating radar were employed to explore the internal structure of the painted sculptures reasonably. Through microscope analysis, X-ray fluorescence spectrometer, X-ray diffractometer, scanning electron microscopy and infrared spectroscopic analysis, the chemical constituents and hierarchical structure of the pigment layer were detected and analyzed. The grain composition and chemical composition of the base layer were presented as well. The research results offer detailed documents for subsequent restoration and pave the way for preventive conservation. Finally, this paper summarized the craftsmanship and materials of painted sculpture works in different periods, so as to explore the development history of the painted sculptures culture.

Geochemical and isotopic provenance determination of gypsum used for stucco artworks: application to Florentine stucco reliefs

Gypsiferous rocks of Tuscany and derived materials (i.e. alabaster, stucco and gesso) have been frequently used as sculptural materials. Remarkable examples are attested from the Renaissance Florence. At the junction of two ongoing programs, dealing respectively with the study of 15th century stucco reliefs (called Madonne di gesso) and the provenance of European alabasters used in artworks, an investigation on raw gypsum supply was conducted via a geological survey in the surroundings of Florence. Looking for geochemical provenance markers, a multi-analytical approach was carried out on 30 geo-referenced rock samples. In particular, trace elements, related both to gypsum and synsedimentary minerals, and gypsum multi isotopic fingerprints (S, O, Sr) were tested. The results obtained are discussed, disclosing insights in the geo-sourcing of raw materials used for stucco reliefs in Florentine workshops.

Концепция романтического героя в скульптуре Аргентины 20–40-х гг. ХХ в.

The interest in the history and culture of Argentina in the Russian Federation today has a special character. It is believed that the presence of a huge number of immigrants from Europe, including from Russia, distinguishes Argentina culturally from other countries of the New World, makes its culture more understandable. There is a perception that this is the most Europeanized country in South America. To a large extent, this ideologeme is the result of foreign policy pursued by Argentina itself. At the same time, the process of the formation of national identity in here was complicated and did not end until the 40s of the 20th century. The relevance of the study is to reveal the inconsistency of this process on the material of sculpture as a document of the era, to show the rejection by masters from a remote region of the country, the province of Chaco, the prevailing ideas about the barbarity and savagery of the Indians and Gauchos, the original population of this province and part of other territories of the state. The novelty lies in the comparative comparison of the positions of the academic art history of Argentina and academic art in the understanding of Indian themes and in how it was interpreted by regional masters – K. Dominguez (died in 1969), C. Schenone (1907–1963), J. de la Mena (1897–1954), as well as in the art history analysis of significant works of the considered problematic and the romantic tendencies manifested in them. It is advisable to correlate the process of “Europeanization” of Indians, bloody and long-term hostilities in order to expel the gaucho and Indians from their ancestral lands with the understanding of who was the true hero of history in the creations of their descendants. The works of the sculptors Chaco, romantic in spirit, are related to the great J. Hernandez’s poem “Martin Fierro”. Today they are kept not only in the capital of Chaco, Resistencia, but also in museums in Buenos Aires and foreign collections

E-SeniArca on IoT Platform in Education of Sculpture Arts

Purpose: In education, by using any media method is one of the most important elements of an educational institution, especially in order to make a consistent learning session. It also can give the two ways communication between teachers and students. Based on E-SeniArca learning tool, it will provide a new way to deliver the information with more effectively. By the lack of references material of sculpture arts topics, it was difficult for students to learn and perform their achievement. In fact, students can purpose to design, transfer, construct and test the effectiveness of the E-SeniArca learning tool in sculpture topics.
 Design: The methods are used to the production of E-SeniArca learning tool on technology are the ADDIE Model.
 Findings: The actual image depiction of the sculpture arts through the images is shown to clearly explain the shape of arc that have in sculpture concepts.
 Research limitations: This study has developed an application of 12 flip cards for scanning by E-SeniArca learning tools to generate 3D images on each of the different picture cards.
 Practical implications: Much of the software used to produce this learning tool has been able to attract students to learn the basics of sculpture arts.
 Paper type: International Journal of Entrepreneurship and Business Development (IJEBD)

The “Makpo” Recade: Prestigious Object of the Kings of Dahomey and its Sculpture Materials

The “Makpo” recade in Fon language (language and an ethnic group from South Benin, formerly Dahomey) means message stick or fury’s stick which is a royal specter. In the kingdom of Dahomey, royal power is represented by 7 badges. The “Makpo” recade is one of its badges. It is an object specific to the kings of Dahomey who wore them on the left shoulder. Their functions are numerous. It derives from the hoe and undergoes an evolution over time. The objective of the study is to identify the materials and the wood species used for the manufacture of the recades in order to understand the choice of sculptors and the cultural importance that the materials used could have. The oral accounts of the resource persons (dignitaries of the royal court and holders of the history of Dahomey), the visit to the museum ‘Le petit Musee de la Recade’ (Benin), and the documentation made it possible to collect the data allowing analysis of the results. The data collected were compared with the timber identification data described and codified by Tropical Timber Atlas and meeting NF EN standards. Out of 11 recades analyzed, the materials determined are wood, metals and ivory. Wood is the most used material which gives a sacred cultural side to the recades because of the specific choice of species.

From Bab el-Nasr to Matariya

Summary In Autumn 2018, the decision was taken to remove two quartzite sphinxes from a modern reconstruction of a postern next to Bab el-Nasr, Cairo. The two statues were thus moved to the open-air museum of Matariya, where they were most probably standing in the first place, on the site of the ancient Heliopolis. This article intends to provide documentation concerning the journey of these two pieces that await to be published. They represent key pieces in the understanding of the fate of the sculptural material once adorning the ancient city of Heliopolis.

РОЛЬ МАТЕРІАЛУ В ФОРМАЛЬНОМУ ТА ОБРАЗНОМУ ВИРІШЕННІ СИМПОЗІУМНОЇ СКУЛЬПТУРИ

On the example of creative work of the International Transcarpathian sculpture symposia, the article analyzes the relationship between the structure of the artistic image, the selection of forms and the material of the symposium sculpture. The conclusions about the influence of sculptural material on the disclosure of an image that uses its natural properties as signs of its own content (pattern, texture, hue, etc.) are made. It is proved that the material does not play a primary role in form and image projection, but it often directs the artist's opinion in a certain direction of form layout and embodiment of artistic image. Emphasis is placed on the practice of sculpture symposia and the associated technique of direct carving in stone, which have directly influenced the process of updating the image and plastic consciousness of Ukrainian artists since the second half of the 1980s.

Cut in Alabaster: A Material of Sculpture and Its European Traditions 1330–1530. Kim W. Woods. Distinguished Contributions to the Study of the Arts in the Burgundian Netherlands 3. London: Harvey Miller Publishers, 2018. ii + 418 pp. €150.

Cut in Alabaster: A Material of Sculpture and Its European Traditions 1330–1530. Kim W. Woods. Distinguished Contributions to the Study of the Arts in the Burgundian Netherlands 3. London: Harvey Miller Publishers, 2018. ii + 418 pp. €150.