classical plaster casts

Casts from both institutions eventually came to the Victoria and Albert Museum, from the former in 1916 and from the latter, in smaller numbers, following the disastrous Crystal Palace fire in 1936. Substitutes for a Master: use technology to improve your artistic skills. In a remarkable account, the story was told of Italian plaster figure makers, from the mountains north of Lucca, journeying across Europe, to France, Germany and even to Russia (‘Wandering Italians’, Penny Magazine, 2 February 1833, no.54, p.42, accessible on Google Book Search). They met with considerable success and were followed by Matthew Mazzoni by c.1803, Peter Sarti by 1816, Lewis Brucciani in c.1820 and Domenico Cardosi and Giovanni Franchi by c.1830, as well as others. The focus of the South Kensington Museum from the mid-1850s was on obtaining plaster casts and electrotypes of European mediaeval and renaissance works of art and monuments. This development was a matter of comment at the time. A generation later, during the First World War, Brucciani & Co Ltd ran into financial difficulties as the museum and school of art markets declined. Their moulds and a few tools were sent on ahead by wagon to Chambery, capital of the French department of Savoy, where they would make their first stay. A nice selection of plaster casts of the human form, as well as plaster geometric shapes. This account takes up where Timothy Clifford’s essay, The Plaster Shops of the Rococo and Neo-Classical Era in Britain leaves off (Clifford 1992). The Caproni Collection produces and sells plaster reproductions of famous sculptures. The practice of reproducing famous sculptures in plaster originally dates back to the sixteenth century when Leone Leoni assembled a collection of casts in Milan. They were also used as sources of inspiration for artists, designers and others, whether in artists’ studios or in museums and academies. For more details on bronze founders, see Bronze sculpture founders: a short history. The best documented of such moulders is Fernando Meacci, who was one of three plaster workers, along with Ferdinando Lucchesi and T. Millon, recommended to students by the sculptor E. Roscoe Mullins in 1889. They are of interest to classical archaeologists, art historians, the history of collecting, curators, conservators, collectors and artists. We might also wonder how the change in medium, from marble or bronze to plaster, alters how we feel about that sculpture. People were happy to accept my Plaster Casts, because it was exactly what they needed to learn drawing from plaster casts. Texts address plaster casts and related themes from antiquity to the present day, and from Egypt to America, Mexico and New Zealand. Such figure makers, their occupation given as figure maker or as ‘figurista’ in the vernacular, would travel from France, usually in April, May or June, at the beginning of the summer season. Advertising more than 300 plaster figures of classical and modern subjects. Print your own Munsell Color Reference Charts at home on your desktop inkjet printer! Such figures were used to ornament interiors from the grandest country houses to the most ordinary homes. Developments in the plaster figure trade, 2. He worked extensively for Edward Onslow Ford and Alfred Gilbert in the late 1880s and early 1890s, until his death in London in 1893, age 56. Nothing special and in any case not expensive. Plaster Casts (900 plaster casts of classical sculpture in the Ashmolean Museum) The Plaster Casts database is a legacy database created as part of an EU R&D project in telecommunications in 1994. The interest in phrenological heads endured into the early 20th century until the subject was substantially discredited. Fig.2. As one leading sculptor put it, ‘a moulder… is to the profession what a frame-maker is to the painter’ (E. Roscoe Mullins, A Primer of Sculpture, 1889, p.21). Retailing of plaster figures took place through street trading in London and elsewhere and by travel to provincial towns to set up temporary shop, in both cases with a view to the household market for popular and contemporary figures. The links between Italian figure-making families who settled in England could be close, with marriages between families, Giovanni Franchi to Mary Sarti in 1831, Raffaello Sani to Emilia Caproni in 1861 and Enrico Cantoni to Florence Landi in 1888, and premises passing from one hand to another, so that we find No.1 Leather Lane occupied by Vincent Merchitti by 1837, Giovanni Graziani by 1850, who went into partnership with Domenico Brucciani, and by Daniele Landi in 1880, who remained in possession until 1902. Several historic cast collections survive more or less intact: that of Sir John Soane at Soane’s Museum put together in the late 18th and early 19th centuries (www.soane.org/collections_legacy/casts/), the later 19th-century collection of plasters casts and electrotypes at the Victoria and Albert Museum (Cast Collection - Victoria and Albert Museum), the cast collections at the Royal Academy, begun after the Academy’s foundation in 1768 and continued into the early 20th century, the Edinburgh cast collection at Edinburgh College of Art, including part of the late 18th and early 19th-century collections of the former Trustees’ Academy and the Oxford University collection of classical casts, largely at the Ashmolean Museum, much of which was assembled from 1887 (www.beazley.ox.ac.uk/sculpture/plastercasts/cast). This page is intended as a source of information for art students who want to learn classical painting. In 1958 when Hepworth wished to make casts of her earlier work, she turned to Mancini for the essential moulds, leaving him initially horrified by the complexity of casting her work but which he managed using a forty-piece mould. William Blake, plaster cast of head by James De Ville, published 1823 (National Portrait Gallery). Plaster casts, generally in the form of classical figures, were used as elegant supports for interior lighting, a trade which reached its height in the early 19th century. Although the trade declined as the century progressed, plaster figure makers could still be found describing themselves as phrenological bust makers, namely Alfred Mazzoni in 1861 and more especially Ambrose Vago in 1881. While there had long been an interest in classical antiquity, the arrival of the Elgin marbles in London, and their display at the British Museum from 1816, opened up new markets for plaster casts as museums and academies in Britain and on the Continent began to develop more comprehensive cast collections for teaching purposes and for wider display, as will be discussed in more detail in section 4 below. For abbreviations, see Resources and bibliography. Once the market had been exhausted, the master would send his moulds and tools to Geneva, and follow on foot with his troop, each of whom would carry a few figures to sell at towns and villages on the road. After all, it was meant to serve as a reference once or maybe twice and not as a decorative object for home. Articles explore the functions, status and reception of plaster casts … John Baptist Giannelli was in London by 1777, Anthony Sartini by 1785, Bartholomew Papera by about 1789 and Ambrose Pelligrini by 1790. They would find plaster and other simple materials for forming figures locally. Such figures might be bronzed to give them a more solid appearance and to suit the heavy feel of Regency interiors. Not so many classical art type casts, but you might find something suitable and the prices are very reasonable. 1. Developments in the plaster figure trade 2. Make sure you order the plain white finish. In December 1850, Antonio and Luigi Caproni announced in the Newcastle Courant that Luigi Caproni had taken a show room in the Collingwood Inn in Newcastle to exhibit his splendid collection of statuettes, suitable for the artist or for ornament (the advertisement is headed, ‘Fine Arts! In the early 19th century, Italian figure makers began to come to Britain in increasing numbers to produce ornaments for town and country houses and to sell cheap plaster figures as an itinerant trade. Very Cheap, etching by John Thomas Smith, published 1815, from his Etchings of Remarkable Beggars, Itinerant Traders and other Persons (National Portrait Gallery). To take a single example of the market, the amateur watercolourist and floor cloth manufacturer, John Samuel Hayward (1778-1822), purchased various casts between 1800 and 1817, some from abroad but mainly from leading London figure makers of the time, Flaxman in 1800 and Shout in 1804, but subsequently from Italians, Papera from 1804 until 1817 as his main supplier, Giannelli in 1806 and then Mazzoni in 1816 and 1817 as his next important supplier (summary listing by Robert Barnes from bills for casts supplied to Hayward, V&A National Art Library, MSL/1943/920C). Classical art type casts, because it was meant to serve as a decorative object for home step a! 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