SCULPTURE OP THE IMAGE OF MAN by DANIEL FLEMING HAWKINS, BACHELOR OP PINE ARTS PROGRESS REPORT Presented to the Faculty of the Graduate School of The University of Texas in Partial Fulfillment of the Requirements For the of Degree MASTER OF FIRE ARTS THE UNIVERSITY OF TEXAS August, 1064 TO JO ANNE PREFACE tlie It is fitting to acknowledge assistance, , all those who have made this work aa.d patience of possible. Much of the credit to Professor Charles Jmlauf goes for his unselfish teaching and superb example as a sculptor* Significant contributions were made by Professor Donald B. Goodail, Chairman of che Department of Art, Professor Kelly Fearing, Associate Professor Mort Baranoff, and Assistant Professor Bill Francis. to Professor Everett Special thanks go Spruce, Professor Loren ifozley, Miss Mary Louise Weiaeraan, and Mrs. Goldie Nelson. I wish to thank Associate Professor haul Hatgil, Mr* Brian Schuller, and Mr. Honnie Baker of Austin for their the Mr. Mr. nuis help with photography. Schuller, Jimenez, and Mr. Ted Forman cooperated with the author on the con­ struction of the bronze foundry. Many others, including Mona Hawkins, Mr. and Mrs. A. H. Walker, Mr. and Mrs. Robert W. Foster, Col. and Mrs. Clyde A. Faust, Mr. Gene Miller, and Mr. aided in a multitude of Rudy Melchior, ways. D.F. H. The university of Texas Austin, Texas July 1, 1964­ IV PURPOSE OF THE THESIS My thesis is composed, of a series of sculptures depicting the image of man, and is presented in this written l and photographic record. The purpose of this thesis work is to aid in the development of an advanced competence in 2 the art of sculpture. The specific theme and personal direction of the work are explained in the following dis­ cussion of the theory, in a demonstration of the evidence (illustrated by the slides and plates), and in a summary discussion. V VI TABLE OF CONTENTS Pa 6© PREFACE iv PURPOSE OF THE THESIS v LIST OF SLIDES vii LIST OF PHOTOGRAPHS x Chapter I, THEORY 1 11. REALIZATION OF THE SCULPTURAL IMAGE OF MAN 4 . 111. SUMMARY 44 NOTES 46 BIBLIOGRAPHY 52 LIST OF SLIDES A comprehensive group of mounted color slides of the author's sculpture discussed in the report is contained in the envelope attached to the back cover. ABBREVIATIONS: MG, modeled in clay; CP, cast in plaster; MW, modeled in wax; CB, cast in bronze; DP, direct plaster; GH, cast in hydrostone; PG, fiberglass; S, carved in stone; LS, life size; D, drawing. Title Medium Scale 1. Modeling a small clay sketch 2. Clay sketch from life 3. Drawings from "St. John the Baptist" and "Man with a Broken Nose" by Rodin 4-, Drawings from Michelangelo and Rodin Drawixig from life Charcoal )£ LS LS 6. Drawing related to Nude Two "k ?. Nude One MG, CH kLS 8, Nude Two MG, GH %LS 9* Nude Three MG, GH kLS 10, Outside view of armature support for life size figures for life size 11. Inside view of armature support figures 12. Nude Four MC, CH LS VII Nude Four (closeup) MC, GH LS 13. 14. Drawings related to Nude Four and Nude Five 13. Nude Five MC, CH % LS 16. Nude Six MC, CP #LS I?. Portrait One MC, OH LS 18, Portrait Two MC, CH LS 19. Portrait Three MC, GH LS 20. Portrait Four MG, CH LS 21. Amazon S (soapstone) LS 22, Gladiator S (limestone) LS 23. Musician S (soapstone ) LS 24, Sea Nymph S (soapstone) % LS 23. Juno MC, FG Vi LS 26, Juno (before patina) MC, FG %LS 27. Portrait of a Girl FG # LS 28. Juno (coating face of waste-mold with fiberglass resin) 29. Juno (adding fiberglass cloth to resin layer) 30. Juno (removing waste-mold from hardened fiberglass) 31. (fitting edges together) Juno LS 32, Mother and Child One DP >£ 33. Seated Nude DP, FG coating LS 34, Seated Nude DP, FG coating LS VIII 35* Drawing relating treatment of surface texture to 30, 31 36* Torso MW, CB lu inches 37* Torso DlOinches 38. Molds packed in flasks with sand 39# Bronze ingot placed in crucible 40. :-lag raked from molten bronze 41* Crucible lifted from furnace 42. Crucible carried in ring 43. Master founder pouring bronze 44. Investment mold 43. Investment removed from bronze 46. Bronze torso chased 47. Christ CB 10 inches MW, 48. Wax model of Christ 49. Burn-out oven in process of welding frame and shell 30. Burn-out oven in process of ceramic lining 31. Closed furnace 52. Open furnace, crucible in place 33* Tongs for lifting crucible from furnace 34. Flasks made of sectioned steel drums 39* Foundry in place CB LS 36* Jo Anne MW, 57i Nude Three MC, CH LS LS FG 38. Seated Nude from life Pressed charcoal 39* Drawing LS 10 inches 60. Christ MW, GB IX LIST OF PHOTOGRAPHS Plate Page 1. Drawings from Life 14 2, from Life 15 Drawing Works 16 3. Drawings from Master 4. Drawings from Master Works 17 from Life 18 5. Drawing 6, Nude One ,••••. 19 7. Nude Two 20 8. Nude Three 21 9. Armature Support (Exterior) 22 10. Armature Support (Interior) 23 11. Nude Four 2d 12. Nude Five • 23 .• • 26 13. Nuae Six . 14. Portrait One . 27 15, Portrait Pour 16. Gladiator 29 ....... 17. Sea Nymph 30 18. Juno 31 19* Juno (In Process) 20. Juno (In Process) 21. Mother and Child X 22. Seated Nude 35 23 • 24. 25. 26. 27* Drawing from Life Drawing for Bronze Torso Bronze Casting Process Bronze Casting Process .... Wax Model for Bronze Christ 3o 37 38 39 40 28. Furnace 41 29. 30. Drawing from Life Seated Nude in Pastoral Setting • • • • 42 43 XI CHAPTER I THEORY I base the central idea of this thesis on a personal conviction in a particular philosophy concerning the nature of and the nature of art. man This philosophy is that is a social individual, similar in emotional, rational, and physical processes, and is possessed of the ability to determine his environment. If man is a social being vitally involved with other men, man is of primary importance to man. Because men are similarly ennowed with basic qualities of emotional, rational, and physical expression there is an opportunity for common expression and for common understanding. Because men are capable of determining their environment they are possessed of a common dignity. Art is a function of society. It is the concrete of sensual, expression the abstract reality of a existence. The development of concrete image of man expres­ this thesis. sive of his dignity is the specific objective of art form for Sculpture is a particularly effective conveying this image. Sculpture occupies three-dimensional space as a real object, and therefore, exerts an impact on the similar to that of the human form. While many people viewer 1 2 relatively insensitive to visual are illusion,'" sculpture is not merely visual but also exists as an actual mass and volume• The sculptor is concerned more with t is mass and volume this real object than with words or thoughts; he is concerned more with stone, clay, or molten bronze than with theories, ideals, or philosophies. The sculptor attempts to infuse the sculptured object with an ixrtuited idea built on his experience. The conception of sculpture is visual and tactile, not verbal; it is developed in a unified manner, not piecemeal. It is drawn from the total of the sculptor's experience. The creation of the sculpture is ideally conceived in a unified culmination of this experience without the least pause for reflection on theories or relations to of design, details of anatomy, philosophy. To the extent that the work is analyzed and worked it becomes stiff and lifeless. Verbalization cannot over sensual with its emotional and intel­ reproduce the object enumeration lectual effect. Verbal analysis of the object, of cannot equal the of its qualities, or inventory its parts sculptured object. There is no set system by which the sculpture is built. allude to the involved in the realization I can only processes ana so idea of a of examples of my sculpture give general the I cannot write a recipe for duplication those processes. others or write exactly and fully how of my sculptures by made them myself. The best understanding of the sculptures is achieved by experiencing them firsthand. Therefore, the oulk of this thesis deals with the actual sculptural processes and media. The written report is purely supplemental to the sculpture. CHAPTER II REALIZATION OF THE SCULPTURAL IMAGE OF MAN My image of man is related in a representative but 7 not an imitative way to the human form in nature.' Constant observation of and work from the human figure were necessary to the of its structure and understanding expressive qualities. Working both from life and from the works of the masters aided in this study to gain knowledge of the figure and its expressive potential. The study included numerous small clay sketches created from imagination (Slide 1) and directly from, life (Slide 2); and also many drawings both from master works such Rodin by sculptors as (Slides p, 4;, Michelangelo(slide 4), and from life (Slides 5, 6). An example of the development of style in the drawings as they relate to the main sculptured works is seen in comparing a typical drawing (Hide bt Plate 5) with some of the sculpture (Slides 7» d; Plates 6,7)• in the work of the master The expressive power analyzed in contributed own efforts a general quickening sculptors to my of my expression more bhan in any specific stylistic way. and the main works was Research in this manner contributed to maintained throughout the thesis work* 4 5 The development of the image is represented here by six of the female nude modeled from sculptures life in clay Q J and cast in hydrostone. In these works 1 have, for the most part, retained or heightened individual physical ch racteristics. In the process from one work to the next an archetypal or idec>l image has developed, based on a generalization of the charac­ teristics of the individual models. i became gradually more concerned with the similarities structure individuals. The of physical among sculptures became more and more idealized rather than descriptive of The became individual peculiarities. sculpture progressively symbolic of an ideal human image, .hile the form became more abstract, it remained specifically related to the living organic human form. Five factors contributed to the realization of primary the distortion of image: full convexity of organic form; proportion to produce an heroic or monumental feeling of height; unity of planar movement and consistent tonality; of the in relation to the viewer; the scale placement piece of the piece in relation to the viewer. Natural form grows outward in positive convexities, the so there was increasing attention given to make sculptural form full rather than shrunken. gradual decrease An heroic effect was imparted by the loet toward thein proportion of the figure from plinth or optical illusion ' an This is the heightening of the head. or law of perspective. A figure seen from a close and low vantage point will seem distorted in this manner. The farther part of the figure seems smaller than that nearest the eye. Because of this distortion the sculptures are forced to as though seen from below. appear An overall each form of each unity of sculpture was achieved through integrating and relating planes moving over the figure. Tonality, or uniform definition of form, and surface texture also equal throughout the sculpture are important to attain unity* In Nude One (Slide 7» Plate 6) the fullness of form the torso and is lacking especially in upper arms, resulting in an emaciated feeling. The graaual distortion in decreasing proportion from feet to head is too obvious. Planar and tonal unity are not consistent, as seen in the contrast of the with the rather definite upper area of simplified legs the torso. in Nude Two (Slide 8, Plate 7) is still lacking fullness, and the result combined with the height distortion is one of some gauntness. The overall unity is improved over The Nude One in the greater consistency of definition# the too harsh and reflects artist's drawings of modeling is iso the The proportion is period. exaggerated distortion or evident in the drawing (Olide b, Plate PJ. life size to Nude Three (Slide 9, Plate 8; was made of definition of form, distortion, and aid in the refinement 7 tonal planar and unity. I felt the larger scale made the pro­ blem more accessible. I also felt that this scale increased and the immediacy credulity of the objective presence of the figure to the viewer in its closer relation to the scale of tne viewer. The life size closer approach did bring the problems to hand in that they were more reauiiy perceived. The scale new of also presented problems of supporting the weight clay, which about three hundred was pounds. A rather sturdy support was required^ 1 (Slides 10, 11; 3* lb). Plates Nude Four (Slides 12, 13; Plate 11) evidences fuller definition of form, a minimized distortion axid better unity of plane and tone. The fullness of form and smoother tonality relates better to the feminine character out lapses nearer to 12 the more less naturalism. However, generalized figure is controlled by the individual character of the model than the previous works. Nude Five (Slide 13, Plate 12; is full in form without less becoming vague in definition and so results in a natura­ listic tonality than Nude Four. however, the iore definite form axid movement of plane echo the stiffness of the works preceding Nude Four. .Slate a I feel that Nude Six (Slide lb, 13) represents oi successful culmination of my in its lull lorm, and consistent planar move- subtle distortion of proportion, retains more heroic ment and The figure is in feeling yet tonality. It is feminine in its soit to-aality character. some individual not overly naturalistic. yet 8 Four portraits from life modeled in clay and cast in followed the hydrostone six previously discussed figures in their general development of fullness of form, planar 16 abstraction and tonality. Because they are portraits, there a difference The was of emphasis. figures are a general heroic type based on individual models. The portraits are, however, of specific individuals whom 1 have trieu to imbue 14 with a quality of heroism. Also, here the distortion toward 15 heighc does not apply. The scale is life size since 1 believe that this is the best scale for a faithful portrait as well as best representing the objective presence of the individual.*^ Portraits One (Slide I?, Plate 14-) and Two (Slide IS) are fairly successful insofar as they are a full interpretation of organic form and overall consistent tonality. Portrait Three (Slide 19) is similar but is more subjective in the 17 "transcendent” stare of the eyes ' and the subjective enlarging of che features. The fourth portrait (elide 20, Plate Ip) is Its features are described in very objecoxve. a definite planar fashion similar to carving. There is more of formal definition in Portrait Four. The grasp of economy more ior are forms is broader. The larger forms presented ior suidace detail fcexbure. 'with less concern themselves, subtle definition of the on more This emphasis a profound and in stone. mass of the form led to experiment 9 Four modest sculptures were curved in soft inex >ensive IS scone. The four sculptures are three iinary portraits t and a small composition of a figure. i-toe ie;.e c ..rvings I learned to plan more carefully my approach to the realization of form in a medium. Carved form is simpler ana to uie more direct, more subtle yet clearer, and so is more profound than 19' modeled form. Previously I had worked largely xa clay. ~lay is relatively yielding *na manageable. It allow* for e < erimen­ tation and alteration. Forms may be made larger, smaller, or may be altered at will. The stone is a harder taskmaster in several ways. If too much scone is removed it is often 20 impossible to correct the mistake. Obe si.uple physical task oi carving indue ns the sculptor to et os much result o as possible with the least expense oi effort. Detailed undercutting is impractical in execution and for uuraoxiity. The medium requires a very carefully planned and simply executed definition of form. The carving was done by haan with traditional stone PI carver’s tools, Soapstone was used for the Amazon ( lido 21), musician ( lide 2p), and iea Nymph ( licit 24, /late 17). carved in limestone. The Gladiator (elide 22, Plate lo) was should one The Amazon is an example of the care y,hich go axni was selection of the stone. It was not pure soapstone of an inconsistent hardness which complicated curving ;>nd stone success. The .oa dymph wjs of somewhat precluded 10 better quality and stones for the Gladiator and Musician were nearly ideal. stone No more carving was attempted. The expense, of the and I felt to be weight stone, difficulty in carving 22 impractical for prolonged student experimentation* At this point several factors may be listed which have emerged as relatively constant in the formulation of my 23 sculptural vocabulary. The sculptural form is related to nature representationlly; an individual character is retained or but idealized; the full convexity of anic form is emphasized; proportion is distorted in a forced perspective to effect or a the of emphasize soaring height, together with placement the piece higher than the sjjectator; unity is stressed by related planar movement aixd consistent tonality; the effect of scale (the spectator is subjectively affected by a life size mass equal to his own; this scale lends the sculpture an actual the human form objective presence related directly to on in nature); and econoiay of surface aetail with emphasis the definition of the solia mass. 1 for bile had arrived at a general sculptural form my ideal image, there remained a specific technical problem, of less and more i needed a medium of less weight, expense, easily workable than or stone, a medium that could be clay used for life size figures, and impractical not be to move or is stone or cast hydrostone, require complicated and as such as the one used for the large confining mechanical support clay figures. Time and money were considered. almost as much time and effort were spent plugging clay, building armatures, and building supports for the clay figures as in modeling them. And stone is particularly expensive and hard to move. in i experimented first with casting clay figures hollow fiberglass. This, it seemed, would at least eliminate the weight of the finished piece. To see if the fiberglass would work at all, a small portrait (slide 27) was modeled 24 in clay and a waste-mold was made of it. A hollow cast was made from the mold rather successfally. It was extremely the light and of high tensile strength. Considering lij. ht weight and the strength of the portrait, 1 decided to cast a draped female figure (Slides 25-51; Tlates 16-20) modeled in clay, in fiberglass. The cast came out quite satisfsc­ o g torily. The fiberglass faithfully reproduced detail and texture. 1 had combined a fine marble aggregate with the fiberglass in hopes of achieving a stone-like effect and eliminate the surface characteristic specifically to glassy of the medium. The surface was matt but not a good color I discovered that so the piece was "patinaed" or painted, to the ad weathers paint adheres quite well fiberglass 7 equally well.'-' The aforementioned project solved the weight problem. it involvedtedious since was However, the process just as still too The materials were reproduction by casting. and tne chemicals for a deal of private work expensive great 28 were poisonous. A previous work had been done by the direct plaster method, which incorporated both an additive and a subtree­ -29 tive process.(Slide 32, Plate 21). The advantages of - both processes are obtained the tractability of clay and - the direct clarity of carving without the problem of supporting the limp weight of the clay or the problem of A not being able to correct mistakes. simple lightweight armature sufficed to hold the mass of plaster since each successive application hardened quickly and helped to support the entirety. I built a life size seated nude (Glides 33» 3^; Plate The 22) for experimentation. problem of weight was overcome by the addition of a lightweight aggregate, which also thickened the of the made it consistency plaster and easier to handle. The findings of the fiberglass experiment were incorporated to lend permanence to the sculpture by 30 coating the surface with a fiberglass "skin."^ This medium allowed the fullest realization of the in relation to the stylistic factors previously sculpture enumerated. Its basic advantage in this is the combination the ease with of modeling and carving made possible, and be which the life size scale can utilized. Its simple while is related to stone direct sculptural form carving in it avoids the major difficulties and expense of working stone. Even the texture obtained by the use of the plaster in the carving lends itself to an exciting tonality rasps that I personally prefer and had achieved previously in drawing (Slides 3s)* Possibly the most permanent sculptural medium is cast bronze. Because of its I want permanence, eventually to cast my best works in bronze. It was desirable to learn 51 the rudiments cf the bronze casting process firsthand. A small torso (slide 37» drawing; Slide 36; Pic. te 24-) was modeled in wax and cast in bronze (Slides 38-46; Plates 52 23, 26) by the lost wax process. For further experience, and to insure an understanding of the process, a bronze foundry was built (Slides 49-35; Plate 36) and the process ; carried out several more times? (Slides 47, 48, 36; Plate 27). Plate 1.--Drawings from Life 10" 8" X Pen and ink Plate Life 2.—Drawing from 36" X 24-” Pressed charcoal plate 3, —Drawings from Master Works Left:From plate of Sistine Chapel frescos by Michelangelo Right: From plate of Age of Bronze by Rodin Plate 4.—Drawings from of plates sculptures by Rodin Left: St. John the Baptist Right: Man with a Broken Nose Plate 5.--Drawing from Life 24" X 36" Charcoal and conte Plate 6.—Nude One Cast from clay in hydrostone 1/2 Life size Plate 7—Nude Two Cast from clay in hydrostone 1/2 Life size Plate 8.—Nude Three Cast from clay in hydrostone Life size Plate 9. —Armature Support (Exterior) Plate 10.—Armature Support (Interior) Plate 11 .—Nude Four Cast from clay in hydrostone Life size Plate 12.—Nude Five Cast from clay in hydrostone 1/2Life size Plate 13.—Nude Six Cast from clay in hydros tone 1/2Life size Plate 14-.—Portrait One Cast hydrostone Life size Plate 15.—Portrait Four Cast hydrostone Life size Plate 16.—Gladiator Carved limestone Life size Plate 17.—Sea Nymph Carved soapstone 1/2Life size Plate 18.—Juno Fiberglass 5/8 Life size Plate Juno 19. — (in process) Fiberglass 5/8 Life size Plate 2O . —Juno (in process) Fiberglass 5/8 Life size .— Plate 21Mother and Child Direct plaster 2/3 Life size Plate 22. --Seated Nude Direct plaster and vermiculite Fiberglass coated Life size Plate 23. —Drawing from Life 24” X 36" Felt pen Plate 24. —Drawing for Bronze Torso 8" X 10" Pencil Plate 25 .—Bronze Casting Process Crucible in ring-shank 39 Plate 26. —Master Founder Pouring Plate 27. —Wax Model for Bronze Christ 10" high Plate 28. —Furnace with Crucible in Place Plate 29 .—Drawing from fife 36” X 24” Pressed charcoal Place 30. —Seated Made in Pastoral Setting Chapter III SUMMARY Through sculpture ± am trying to express the natural a dignity of man. For this purpose i believe sculptural form related to the human form in nature directly and simply is most effective. constant iVjy stylistic development has been based on a study of the human form ana its expression, both from life from works of master the inia nas and sculptors. Generally e D become progressively more archetypal, specifically, several rather constant factors have emerged during my thesis work: to (1) relation of sculptural form nature representationally; (2) individual character retained but idealized; (pj e iphasis on the full convexity of organic form; (4-; distortion of proportion in a forced perspective to effect or emphasize height; (b) placement of piece higher than spectator; (6) effect of scale of in relation to subjective piece spectator* (7) emphasis on definition of solid with economy of mass detail. surface Technical development has been directed toward the fullest utilization of the style. ,fter the early use of 44 the works were executed in stone, fiberglass, clay medium, and direct plaster. A combination of direct piaster and a lightweight concrete aggregate covered with fioerglass was finally developed analbund to be most effective for my purposes. The technical study culminated in the casting of broxizes by the lost wax process, ana in the subsequent small building and operation of a private foundry. All of these developments are best illustrated by the sculptures themselves. I am still working toward a fuller realization of my goal, but each of the sculptures to extent has been successful some in expressing my personal statement. They stand on their own as individual sculptures as well as landmarks in the development of a style (olide sb, Plate 4). 1 believe the stylistic factors ana the related technical processes (described in detail in the dotes) with constant studies from life (olide 59, Plate together 29; the direction of the work and have set will contribute significantly to my sculpture in the future (Slides 48, 60; Plate 22). NOTES The University of Texas, Graduate chool; 1960­1961 and. 1961-1962, with nnouncements for 1962-19b9 and 1969-1964 (The University' of Texas Ca Galogue Number: Part VII; Austin: 1962), p. 6s; **The thesis will consist of a work or set of works of urt, submitted with written record, analysis, and evaluations including record of working drawings stages of completion, 11 or p 42: "The the master's Ibid., p. objective of programs is to give the student experience in advanced study." 5 Herman Randall, Jr. and Justus Buciiler, Philosophy: An introduction (College outline cries, No. 41; New fork: Barnes and Noble, 1942), chap, xvii, "Ethical and Aesthetic Values," p. 249-271. S.E. Frost, Jr., Ideas of the Great Philosophers: A Purvey of Their Basic Teachings "(New "York: Barnes and Noble, 19557 * Paul Weiss, The orla of art (Caroonaale: outhern Illinois University Press, 1981), p. 5: The artist attempts to present ideal value in a sensory guise; p. 7* eiss an relates art to the other basic cultural pursuits; 8: The p. work of art is a substance opposed to whatever other sub­stances there be. may lL S. E. Frost, Jr., op. cit. 5 ''Paul hiss, op. cit. , p. 5. 8 Frederick Logan, Growth of rt in ochools. (New fork: Harper, 1955). "According to our best contem­porary kxiowledge ...” about one-fourth of the population is more stimulated by kinesthetic sensation by touch than -- by sight. Clark, The Nude in Art: A Stagy in Ideal Form (New lork; Doubleday, 1953;, p. 55. Clark traces the of the Greek development ’’Apollo” type sculpture from archaic, to naturalistic, to Polykleitos, The Polykleitan style: A tightly formalized abstraction of great vitality emphasized channel. by its narrow Pp. 68-b9: Torso of Doryphorus. 46 47 smaller figures were built in clay a standard on armature of 3/8" lead wire (see Jack G. Hich, The materials and Methods of Sculpture (New fork: Oxford University Press, 1947); and Malvina Hoffman, Sculpture Inside and Out (New York: W. W. Norton and Company, 1939)• The life size works were built on armatures made of H", ji" , , and 1” steel The rod allowed reinforcing rod. for flexibility but n could not support much weight. The % rod was stronger but still tended to The heavier rods held well but were to sag. extremely difficult to work with. Perhaps very heavy $-'* 1" lead would be more satisfactory. Planning was necessary to relate the composition of the figure to its actual construction on the armature. Schematic sketches were made for this purpose. (See Slide 14) The first large armatures were supported by pipe on These heavy platforms equipped with rollers. proved imprac­ tical because the pipe was too light (1H ) and sagged, and also the had to be blocked thus platforms up for stability, cancelling the usefulness of the casters. A heavy steel armature support was built which solved the problem of work the stability but also cramped on piece. (Bee pp. 13 and 16 above). The ideal support would be a heavy vertical pipe set in bearings or free sockets in ceiling and floor so that it could be rotated. were cast These clay pieces from simple plaster waste molds in "hydrostone” (a product of U. S. Gypsum, 11,300 pounds per square inch compressive strength), a hard, weatherable material. 9 'This distortion somewhat relates to the nine-beaus­ high proportion of heroic Greek sculptures. An example of this planar movement is the continuous plane relating the instep, inner shin, inner vastus, sartorius, erectus. oblique, and spinus I The armature was a horizontal 4” ”HM beam braced at 90° to a vertical 4" channel iron, bedded in a 6" channel iron. A series of matched holes in each channel allowed the height of the arm to be adjusted. The steel support was bolted to a 12* long, 12” square timber anchored in 3 feet of and brick. concrete 12 The form of this op-cit. figure Kenneth Clark was influenced by gfeat Indian fakshi type figures such trie the Great as those on Stupa at vanchi, first century B. C. factors listed 12. above, p. 14 The intention was to instill the portrait of the ana so to individual with heroic properties imply the heroic to be individual. potential believed in every 48 likeness problem of a in portraits requires that the work be viewed from an angle related to that from which the is subject customerll/ seen, i.e., a tail person from a short from slightl/ below; person slightly above. Distortion in this instance of portraiture complicates this effect. The less the departure from actual scale, the the to the stronger objective relation spectator ana the more powerful the subjective effect produced. 17 This effect occurs of the less realistic in many phases of sculpture, such as in the colossal head of Con­stantine the Great, early fourth A. century, D., Capitoline Museum, Rome. C. Kich, op, cit> 19 Detail is impractical in stoxxe and goes against its character. Simpler forms must imply, rather than dupli­ cate. instead of imitating natural form, it is best to distill its essence. 20 Broken can be fragments occasionally repaired with epoxy glue or fiberglass. A repair of this sort was made during the progress of the Sea Nymph. 21 Malvina Hoffman, op. cit, Jack G. Rich, op, cit. The form was blocked out with a bush hammer and with a bull chisel. The carving was done b/ hand with toothed, Some flat, and pointed chisels. abrasives were used for the finishing. The soapstone was treated with a solution of linseed oil. turpentine and 22 The price of marble averages about $8 a cubic foot, F. 0. B, Vermont or Georgia* 25 The character of tne carving process was added to the factors listed above on p. 12, 24 A waste-mold used was as in casting this in casting the other clay sculptures. 25 The resilient tensile strength of the fiberglass enabled it to resist blows which would tend to smash more bri11le stone• °Fiberglass casting process (Slides 28-31; Flutes 2G) ; aste mola sealed a. with acid-resistant plastic coating* 49 b. Mixture of resin and acid to equal part of Number 00 Verde Antique marble aggregate spread A" thick in sections of the mold. (It was necessary to bake the aggregate to avoid moisture). (Slide 28). c. After hardening 24 hours, the initial layer was backed with strips of fiberglass mat and cloth saturated with liquid resin. (The rate of hardening is dependent on Artificial heat the process). temperature. speeds up (Slide 29). d. The plaster mold was broken away from the hardened fiberglass. This is easily achieved because the mold will shatter at a blow, but the fiberglass is springy (Slide 30). e. The edges of the cast pieces were fitted and joined with more of the fiberglass mixture (Slide 31 -Slate 20) , f. The piece was "patinaed" to resemble bronze; (1) coat of metallic gold paint; (2) oil and turpentine medium (Slides 23, 2b; -Slates 19, 20). 27 r ßecause no moisture is introduced into the medium, the paint adheres perfectly. po are unless Fiberglass materials expensive they are bought in great quantity, i.e., 17 per gallon for resin, $2.50 per yard for mat and cloth. The chemicals are highly toxic, botn internally and externally. 2Q 'Direct plaster process: a. A light steel armature of A" rod is constructed. b. Basic forms are built up with hemp fiber and plaster. c. Creamed plaster is thickened with dry plaster in to wet small quantities and applied plaster with Italian plaster spatulas. Alteration and definition can be made d. by carving the plaster with piaster rasps and knives. e. When thoroughly dry, the work may be painted to alleviate the dead whiteness of the plaster. 30 y For the seated nude the direct plaster was process altered; a. Vermiculite concrete aggregate was added to the in the ratio of one part vermiculite to two parts plaster a plaster by volume. This produces good working consistency about one third. Vermiculite and lightens the weight by weighs approximately one twelfth as much as plaster by volume. b. The finished sculpture was dried in a very hot kiln room and then coated with clear liquid fiberglass, (The surface was impregnated with several coats of liquid thinned with Styrene, ana then coated with a fiberglass of unthinned brush. The thick layer liquid applied with a to thickness shrinks 1/8” on hardening). that the work is desirable sculptor follow his the to through the casting process at foundry in order insure that it retains his personal style in form, propor­ coxor. tion, texture, 32 Bronze casting process (for small solid pieces) (Slides Plates 25-27)* a. Cork modeled in wax (slide 48, Plate 27)• b. Gates and vents of wax attached. c. Wax coated with investment (one half plaster, one half crushed fire brick) to a thickness of about 5". A wire is wrapped around the mold near the outside surface to add strength and to facilitate removel of the investment (Slide 44). d. ax completely burned from mold in kiln. e. Hot molds placed in steel flasks ana buttressed with tamped sand. (The molds should be removed from the kiln so they are ready to be poured at the moment the bronze reaches the proper temperature for pouring) (Slide 58)* f. The crucible is pre-heated in the furnace and the bronze ingots are lowered slowly into the crucible so that they will heat gradually (Slide 55)• g. Excess slag is skimmed from the top of the molten bronze before it is removed from the furnace (Slide 40). h. The crucible is when the bronze reaches remgved of 1850° to 1958° F. is a temperature and placed in the rin , of the shank pouring (Slides 41, 42). i. As the bronze is poured, any slag remaining on the surface is held buck with a slag rake (Slide 45). jAfter the bronze has coolen, the investment is , and the cut stripped away sprues off (Slides 44, 45). k. Irregularities on the surface are chased off and the bronze is cleaned with muratic acid (slide 4o). 1. Appropriate acids are applied to the surface with to the desired patina heat produce (potassium bitartrate, one part; sodium chloride, one part; ammonium chloride, two were used for an "ancient effect. See slides parts; green" of bronzes (Slides 50, 47). See Hoffman, nich;. building procedure ksee foundry iiaes 44, 30, 33): The foundry consists of (1) an oven the for baking (ilides 49, 30); (2) a furnace to melt the bronze nlate 2b); (3) a Sand area and flasks where molds (Slides 51, 32; the bronze molds are placed for pouring; (4; tools for handlinghe cruoibie_and bronze. oven ana furnace were made of steel The Insulated with a4” refractor/ ceramic liner. A light refractor/ of one part Lumnite high temperature cement and four parts was vemdculite aggregate used. to The gas to the furnace was supercharged with air attain the necessary temperature to melt the bronze. This was achieved, with an air blower attached to the bas line. The oven was made by adapting a barracks heater. The furnace structure ana flasks (Slide 54) were made from sectioned oil drums. We used a humber 50 pre~annealed silicon carbide crucible (a product Union Carbide) with a 90-poond of capacity for bronze (Slide 55)* The tongs for removing the crucible from the furnace are of a scissors type that we made of welded steel steel reinforcing rod and )4" plate. ;Ve obtained a double-rin& shank for pouring bronze from the crucible (Slides 42, 43). An 5i 5 5” number 15 bronze ingot was used: , 85% copper, 5% tin, 5% lead, p% zinc. BIBLIOGRAPHY Clark, Kenneth. The Nuae in Art: A Stagy in ideal Form. New York: Doubleday, 1953* Frost, S. E., Jr. Ideas of the Great Philosophers: A Survey of Their Basic Teachings. New York: Barnes and iVoble, 195y. Greene, John C. Darwin and the Modern World View. Kev; York; The New American Library, 1963. Hoffman, Malvina. Sculpture Ixiside and Out. New York: W. W. Norton and Company, 1939. Clark. The Uses of the University. Cambridge, Lass.: Kerr, Harvard University Press, 1963. Levy, Mervyn. "Henry Moore: Sculpture Against the Sky," Studio International, CLXXXX, No. 853* (May, 1964), 176-185": Frederick M. Growth of Art in /'mencan Schools. Logan, New York: Harper, 1955* John Herman, Jr., and Buchler, Justus. Philosophy: Randall, An Introduction. (College Outline Series, No. 41), New York: Barnes and Noble, 1942. C. The Materials and Methods of Sculpture. Jack Rich, New fork! Oxford University Press, 194-7. Rodin, Auguste* On Art and Artists, translated by Mrs. New fork: Romilly Fedden. Philosophical Library, m?. University of Texas. Graduate School; 1960-1961 and The 1961-1962, with Announcements" for 1902-19q3 and >64-. (The University of Texas Catalogue Number: Part VII). Austin; 1962. Wpiss, Paul• The World of Art. Carbondale: Southern Illinois University Press, 1961, 52 The vita has been removed from the digitized version of this document. 1. Modeling a small clay sketch 2. Clay sketch from life 3. Drawings from "St. John the Baptist" and "Man with a Broken Nose" by Rodin 4. Drawings from Michelangelo and Rodin 5. Drawing from life 6. Drawing related to Nude Two 7. Nude One 8. Nude Two 9. Nude Three 10. Outside view of armature support for life size figures 11. Inside view of armature support for life size figures 12. Nude Four 13. Nude Four (closeup) 14. Drawings related to Nude Four and Nude Five 15. Nude Five 16. Nude Six 17. Portrait One 18. Portrait Two 19. Portrait Three 20. Portrait Four 21. Amazon 22. Gladiator 73. Musician 24. Sea Nymph 25. Juno 26. Juno (before patina) 27. Portrait of a Girl 28. Juno (coating face of waste-mold with fiberglass resin) 29. Juno (adding fiberglass cloth to resin layer) 30. Juno (removing waste-mold from hardened fiberglass) 31. Juno (fitting edges together) 32. Mother and Child One 33. Seated Nude 34. Seated Nude 35. Drawing relating treatment of surface texture to 30, 31 36. Torso 37. Torso 38. Molds packed in flasks with sand 39. Bronze ingot placed in crucible 40. Slag raked from molten bronze 41. Crucible lifted from furnace 42. Crucible carried in ring 43. Master founder pouring bronze 44. Investment mold 45. Investment removed from bronze 46. Bronze torso chased 47. Christ 48. Wax model of Christ 49. Burn-out oven in process of welding frame and shell 50. Burn-out oven in process of ceramic lining 51. Closed furnace 52. Open furnace, crucible in place 53. Tongs for lifting crucible from furnace 54. Flasks made of sectioned steel drums 55. Foundry in place 56. Jo Anne 57. Nude Three 58. Seated Nude 59. Drawing from life 60. Christ