stone sculpture

Stone Sculpture (Latin: statuarius and Sculptor ) provide plastic Natursteinarbeiten ago. In contrast to the Steinmetz their work more creatively and less geometric, so no profile work, or architectural work, such as stairs or kitchen countertops. Like other sculptors they usually have artistic or craft skills. The sculptor can work both creatively as well as implement predetermined sculptures in stone.

In the stone sculptor is a craft apprenticeship, the first two years of apprenticeship are identical to the stonemason.

• 4.1 Technical and reproductive aspects
• 4.2 Creative Aspects
• 4.3 Preliminary work with computerized copy milling cutters

Historical development of stone carving

Ancient Egypt

Sculpture

A workflow with the Egyptian statues can be ( around 1450 BC) trace corresponding to a painting in the grave of the vizier Rekhmire. The block obtained in the quarry was hewn rough deal. On all four sides of the block, the outline of the character was recorded and the supernatant removed stone material. The sculptor accordingly layer after layer of cut stone from working and had always the whole sculpture in view.

For rough work on soft and hard rocks they used stone hammers with and without stem from dolerite. These tools were used by the Egyptians in particular in the making of sculptures made ​​of hard stone such as granite, diorite or gabbro. For the molding were used for finer work in soft rock Knüpfel and chisel in bronze until around 1500 BC, and used in Roman times iron chisel. With polishing stones ( pumice ) and Schmirgelmasse, such as quartz sand, the surface was smoothed. The bronze chisel, incidentally, were so valuable that they had to be delivered in the evening and losses heavy penalties moved to yourself. The sculptures were freely worked out; a back pillar was preserved in stone. There was a block-like figure. The human figures were not personalized and the sculptor were limited to the representation of traits.

Relief

The Egyptians used in the manufacturing of flat reliefs, like the statues for the design of the human body, firm rules of proportion. The human body was divided into 18 earlier and later in 21 squares in relief. The body was divided in height into three parts, with lower third without height division, the middle third in two equal parts and the upper third in 2 parts for the head, 1 ½ parts from the neck to the armpits and in 2 ½ parts were divided from armpit to mid- abdomen.

Ancient Greece

Sculpture

After Carl Bluemel (1893-1976), sculptor and director of the Pergamon Museum, the Greek stone sculpture of the early days worked initially as the Egyptian sculptor. The outer shape of the figure is recorded or inscribed. The sculptures could be processed from all sides. The Greeks worked layer upon layer each time. So you never worked on a leg, arm or head for himself, but always had an eye on things, and the figure was holistically at every stage of the work.

They used in their work shaped by forging bronze and later "iron " ( hardened steel ) pointed chisel, so the sculptures have had numerous punctate holes that may have arisen by two tip or pointed hammers and processed during the working process with ever finer chisels and finer cuts were. This technique turned to only the Greeks, because they preferred a different surface than any other sculptor after them. One last run is carried out with the tooth iron, which is a sequence of " small chisels " in a metal cutting. This tool used the sculptor to further flatten the bumps that caused the pointed iron. Basically, a tops of marble attracts a smash of mineral grains by themselves. The stone surface is brightened. This avoid the present stone sculptor. The Greeks produced a conscious samtne rough stone surface. Perhaps the surface was rough established because the sculptures of the Greeks were caught in color and the color on the rough surface adhered better. If certain parts are smoothed, had the radial shapes that Greeks used partially blow iron or iron rods that do not straight, but had a round edge, and from the middle of the 5th century BCE, there are traces of rock drills. Metal rasps are used particularly in places, in which a subsequent inking should take place. In the later times of the marble was always smoothed by the stone sculptors and also of the Greek sculptor 350 years BCE and usually brought to polishing. This can be demonstrated to the machining marks of the Parthenon.

A change of stone processing took place in the 1st century BCE in the Greek sculpture as a stone sculptor proven the model using a measurement procedure transferred into the stone. The stone was not carved out around the stone, but first knocked out the front. Here the sculptor has reviewed the respective depths of the model and sculpture over gauges. It was a simple puncture procedure, which was developed much later to circle puncturing. The sculptor attached to the plaster model cords and transferred the measurements by embarking holes in the sculpture. Furthermore, the sculptor used vertical solders, which were attached to a wooden frame above the sculptures and gauges provided. Of the completed low points later surface was then prepared. It no longer just pointed iron, but iron shock were used, which is not as strong cheated the stone surface.

Relief

The Greek sculptors drew the outline shapes on the marble slab and deepened the forms and only then the details of the figures. The highest points of the relief are all on one level. With today's relief is reversed, as are the lowest points on a plane. The main difference to the Greek sculpture is that the impact and rods are used more frequently than the chisels. Were used in the relief work mainly tooth, percussion and rotary iron. More relief planes were created in an image work, the sculptor first the deeper levels and forms worked out, and then edit each higher-lying levels.

Ancient Rome

The Romans took over essentially the sculptors art of the Greeks. They worked, the closer they came to the surface of the sculpture, with the pointed iron at a shallow angle and used finally beat iron. Thus, the impact of iron has become the main tool. Technically, the working speed in the making of the sculptures was crucial for the Roman sculptor and they worked the sculptures made in individual areas and combined these. They used a solder frame and thus became able to draw up the necessary points exactly. Then the grinding and polishing work began. During this time around 100 BCE, the Laocoon group is believed to have originated, who had a bronze sculpture as a template. The Romans were the perfect copyists and brought stone effigies of their emperor and other works of art as a demonstration of their power in the conquered lands, so as many copies of imperial portraits were made, that can be admired today in the museums.

Middle Ages

From the 13th and 14th centuries, the figures were released again and worked out some of the block. However, Michelangelo working on the stone often free, mainly in relief.

Modern Times

In the Renaissance period the delivery method such as the plumbing jig, were reinstated. In the Baroque period called Bozzetto be used, which are sketchily executed plastic models. They serve as a blueprint for a figure or a large plastic statue, while the ideas of the client are taken into account. In the Baroque puncturing devices are in use, and Classicist plays in the model, was made ​​after, again the decisive role. In classicism emerged workshops that produced the existing models in small batches.

20th century

At the beginning of the 20th century, in turn, the relief-like and free work was practiced. The signature of Adolf von Hildebrand played to the problem of form in the visual arts, a role that the sculptures were released and beaten some of the natural stone (direct carving ). It is so that confront different opinions and applications regarding the transfer process. Partial was punctured and worked free. For large sculptures measuring frames are often created from which can be measured.

Today's stone sculpture

The activity of the stone sculptor is often confused with that of the sculptor who can perform in durable materials his sculptural models of stone sculptors (sculpture ) as well as casters ( plastic). The sculptor is able to realize a three-dimensional work exactly according to ( own or other ) specifications. Here, the sculptor does not form sculptures in operations from the inside to the outside, such as in building a clay model, but forms a sculpture from outside to inside by skin out the sculpture from a block of stone.

Training

As a stone sculptor call themselves in Germany and the masons who qualify in a profession with two disciplines. There is a journeyman training regulations for Stonemasons and sculptors, which incorporates both the profession of stone masons and stone sculptor. Furthermore, there is the " champion stonemasons and sculptors " as a fully skilled trade, as it were a profession type with two professions. In master exams a stonemason it as a working sample make a stone sculpture studio and a stone sculptor, a stonework next to a masterpiece. Since the stone sculptural orders are low, the masters and journeymen of this subject can rarely live alone of the stone sculptures.

In the education profession for stonemasons and sculptors apprentices are included:

• Develop designs and translate them into models
• Design, implement and drain relief and sculptural jewelry forms
• Produce and edit negative forms, multipart forms, models
• Transfer models in stone, in particular by puncturing
• Create and run Plastic body
• Design and execute Ornamental decorative forms
• Prepare restoration measures in stone sculptor objects, implement and document
• Produce castings
• Document the steps

Operation

Technical and reproductive aspects

Stone sculptor finished for a model especially in 1:1 scale with puncturing devices sculptures. You can also models with proportional angle zoom in or out, or work out with the so-called three - circle method. A special method that is not dominated every stone sculptor, is the mirror image of puncturing models with the pricker. The tech - reproductive method of sculpting is mainly used in restoration tasks to make copies of valuable sculptures, also for purely commercial purposes. For example, the David of Michelangelo approximately every three years is manufactured in original size as a commissioned work for global export. The production is almost always in the region of Carrara, performed according to one of there existing 1:1 plaster models.

In the production of relief rasters are used, both for 1:1 models and enlargements or reductions. Grid have not only the Egyptians applied, but also Albrecht Dürer in the reproduction of drawings or paintings.

Creative aspects

In addition to the technical- reproductive aspects, a series of stone sculptors also has the ability to run your own free artistic work in stone. Part of the creative sculptor created arts and crafts or free artistic work. In part, stone sculptors in the tomb design works, especially in large urban areas.

Preliminary work with computerized copy milling cutters

Today, the outlines of a sculpture electronically - controlled end mills are used for the ejection. This eliminates the time-consuming and physically demanding work with mallet and chisel. The preparation of the surface shape and skin of the sculpture is then made with the stone carving tools.

Famous sculptors of history

Significant historic stone sculpture in German-speaking

• Naumburg Master, mid-13th century had the unnamed main champion at Naumburg Cathedral.
• Peter Parler (1330 or 1333-1399 ), the most important cathedral architect and sculptor of German Gothic.
• Wenzel Parler (* vermutl. Before 1360-1404 ) was one of the greatest sculptors of the Parler Dynasty.
• Adam Kraft (probably 1455 to 1460-1509 ), an important sculptor of the late Gothic period.
• Heinrich Brabender (* vermutl. Around 1467-1537 ) was a stone sculptor of the late Gothic period.
• Conrat Meitner (* 1470/1485-1551 ) was a sculptor of the German Renaissance.
• Balthasar Permoser (1651-1732), sculptor of the Baroque.
• Lorenzo Mattielli (1687-1748), sculptor in Vienna and Dresden.
• Georg Raphael Donner (1693-1742, Vienna) Austrian Symbolist sculptor of the Baroque.
• Johann Gottfried Schadow (1764-1850), an important sculptor of classicism.
• Christian Daniel Rauch (1777-1857), an important sculptor of classicism.
• Ludwig Michael von Schwanthalerstraße (1802-1848), the main champion of classical sculpture in southern Germany.
• Adolf von Hildebrand (1847-1921), sculptor
• Jürgen Weber (1928-2007), sculptor

Famous historic European sculptors

• Phidias, Athenian sculptor of the 5th century. BCE, the numerous sculptures of the Parthenon created.
• Praxiteles, the Greek sculptor of the 4th century. BCE, was the most important sculptors of the Late Classic.
• Niccolò Pisano (1205-1278), sculptor, was an important representative of the early Italian Middle Ages.
• Donatello ( to 1386-1466 ), was a leading Italian sculptor of the early Renaissance.
• Michelangelo (1475-1564), was the most important sculptors of the Italian High Renaissance.
• Pietro Maino Maderno (1592-1653) imperial court sculptor, worked exclusively in Stone
• Giovanni Lorenzo Bernini (1598-1680), was a stone sculptor of the Italian Baroque.
• Louis -François Roubiliac (1695-1762) was an important French sculptor of the 18th century.
• Antonio Canova (1757-1822), sculptor, was a leading representative of Italian classicism.

Sculptor of modern times, who worked mainly in stone

• Karl Prantl (1923-2010), founder of the European Symposium sculptor
• Max Bill (1908-1994)
• Jürgen Weber (1928-2007)
• Alfred Hrdlicka (1928-2009)
• Rückriem (* 1938).

Other famous by artisan sculptors training

• Günter Grass, writers, painters and sculptors with stonemasons and sculptors teaching (1947-1949) in Dusseldorf.
• Emil Cimiotti ( Emeritus Professor at the HBK Braunschweig), stonemasons and sculptors teaching ( 1946-1949 ).

Other topics

• A venue for rock art is called lapidary.