Cari Amici,
Are you interested in watching this bronze sculpture patina process? I hope so. I find it fascinating, while at times frustrating. In my
earlier post I described how after the “chasing” of the
bronze sculpture (in which I re-sculpt or touch up any details after the sculpture has been cast into bronze and welded together), I thoroughly clean the
metal sculpture.
There are two basic kinds of
bronze patina: hot and cold. I tend to prefer the hot. But that is only the beginning of the choices available. The patina I have chosen for this bronze sculpture titled
“Against the Dying of the Light” is a somewhat classical and translucent coloring for bronze.
We used a chemical called liver of sulfer in this initial application. Normally this can be applied cold, but we used a torch for a different effect. In this photo, you can see how amazingly splotchy and random the first application was. I do love this mixture of rust, blue, purple, and yellows that results (and for some pieces of art in the past I have wanted – in vain – for this effect to stay).
But I must admit: I am often baffled and amazed at the perseverance of the first person(s) who came up with such elaborate processes. Some of the patinas I know about and/or use require multiple layers and complicated steps – often mixed with some luck. I mean, how many steps does one take when the result appears to be going in the non-desired direxion before one gives up hope that the project is salvageable? (This is a valid question in many areas of life, is it not?)
There are so many tricks and variables with chemicals and heat. Temperature is a most sensitive part of the equation. If the bronze is too hot, the reaction is too swift and the results often look burnt. If the bronze is not hot enough, very little happens. If the bronze (or leftover investment mold inside) is too thick or of inconsistent thickness, results will vary tremendously. It takes quite a lot of experience to get a feel for why the metal is heating up as quickly or slowly as it is and what to do about it.
Once the bronze metal has become the desired temperature in any given area, the liver of sulfer is applied. This can be done in a variety of ways, usually by hand with a paintbrush or with a sprayer. The effect is different with each application.
Allora, I save the rest for another day as I must return to work now.
But for your reading pleasure, here are some other goodies I ran across recently:
Wanna see images of Michelangelo, the brute?
Click hereThis in conjunction with a related exhibit at Casa Buonarroti in Florence, Italy.
Portraits of MichelangeloThe museum’s English site-----
Here is an article about art being used as loan collateral:
http://www.nysun.com/arts/borrowing-with-fine-art-as-collateral/82333/Quotes from article (please read full article in context):
"Art now is seen as a definite asset class which is traded,"
“They may loan against a specific work, several works, or a whole collection, generally up to 50% of the market value of the collateral.”
“Often, a collector who borrows against his art can keep it on his wall.”
onze so often that it is impossible for the bronze to keep her patina. But for me, I would be delighted if my sculptures were loved and enjoyed by people, even if that meant the work changed over the centuries. Of course, I would not mind being around to see the effects of such a love first-hand!
