No really, Chris, I think I've always liked smooth,  though ,now i do  
emphasize it
on hair for compositional reasons. Clay modeling gives one a lot of  
choices for
surface textures as you start clay sketching. I have carved marble  
and granite.
Granite is not for me. Marble is friendlier , but clay is best for  
me, specially now
  that we have machines that can enlarge and make exact replicas of  
my work
better than by the old pantograph methods i use to do, and still do  
on small
work.
I'll try to send you a photo of my first marble carving. I called it  
"One World"
made around 1949. in honor of the United Nations formation, I remember
Tom Dewey's mention of the phase "one world"

mando

[demime 1.01d removed an attachment of type application/octet-stream which had 
a name of One World 1950  20_marble jp]
On Sep 30, 2009, at 8:37 AM, Chris Miller wrote:

> I'm speculating that Mando's concern for facture is descended  from  
> the
> enthusiasm for direct carving that grabbed American sculptors in  
> the first
> half of the last century, and was celebrate by Kineton Parkes in  
> his 1931
> book, "The Art of Carved Sculpture".
>
> A few years ago, I blogged about it here:
>
>
> http://mountshang.blogspot.com/2006/08/kineston-parkes-and-british- 
> sculpture.
> html
>
> It's not an enthusiasm that has ever grabbed me, since carving,  
> especially
> stone carving, is such a difficult facture, and I have problems  
> enough just
> with design.
>
> BTW -- it was so difficult for the sculptors who  pursued it, that  
> the usual
> solution, for good sculptors,  was to carve pieces that were either  
> flat or
> simple. While the solution for bad sculptors, was to sacrifice  
> everything to a
> dazzling display of virtuosity (a fault that I would also find with  
> certain
> Classical musicians)
>
> As the fashion for cemetery sculpture declined over the last  
> century, the
> number of  master carvers has bottomed out -- but there's a few -  
> like this
> fellow from Brazil:
>
> http://www.cicerodavila.com/
>
>
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