Michelangelo Buonarroti:
Wall object "The Creation of Adam", version in bronze


Michelangelo Buonarroti:
Wall object "The Creation of Adam", version in bronze


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Bronze | Handmade | Format 58 x 25 x 15 cm | Weight 9 kg


Michelangelo Buonarroti: Wall object "The Creation of Adam", version in bronze

When Michelangelo created the ceiling frescos of the Sistine Chapel in Rome between 1508 and 1512, he was taking an important part in the cultural and intellectual life of Italy. The nine scenes of the ceiling fresco show the history of the creation. In the center there are two hands: the left one belongs to the legendary Adam and the right one, coming from the cloud, belongs to Our Father. The indirect touch of the point fingers makes this fresco famous. This gesture symbolizes he miracle of creation with incomparable lightness and elegance. Michelangelo doesn’t show the material creation of the human, but rather the “ensouling” of the human flesh. Through the creation of this wall object, the central element of the famous fresco became three-dimensional. The statue expresses an idea of searching for the divine, which can be found in the blessing of art.
Original: Sistine Chapel, Rome.
Edition in bronze. Made by hand in lost-wax casting technique. Format 58 x 25 x 15 cm. Weight 9 kg.

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Pain and despair and also hope portrayed Michelangelo in his early history of mankind: the Sistine Chapel in the Vatican. When he created this Vault between 1508 and 1512 the main proponents of the High Renaissance and pioneer of Mannerism as a sculptor and painter played a central role in the artistic and intellectual life of Italy.

Michelangelo Buonarroti was born in 1475 in the Tuscan Caprese. He was educated by the painter Domenico Ghirlandaio, the sculptor may at Bertoldo di Giovannis being the study of the Antiquities of great influence.

From 1496 to 1501 Michelangelo in Rome was active, where among others the "Pietà" for St. Peter's was built. Untill 1504 he worked in Florence at the monumental statue of "David", which is still the closely relation to the ancient world. The following sculptures mark the transition to the Mannerism.

In 1505 Michelangelo was commissioned for the tomb of Pope Julius II, but only after the death of 1513 in reduced and could be completed as the obstinate artist without the client agreement. Until 1516 the "bound slaves" and "Moses" emerged. As an architect he should be working for the Medicis, but could not do the planned construction and developed design principles, which started in 1521 in the staircase of the Laurentian library in Florence. From 1534, Michelangelo lived in Rome.

Michelangelos works are characterized with religious theme and architectural plans such as the construction of St. Peter's Church or of Palazzo Farnese. We can learn a lot through his letters and sonnets about Michelangelo, who died in 1564.

An alloy of copper with other metals (especially with tin) used since ancient times.

Bronze casting:

When casting bronze, artist usually applies the lost-wax technique which is dating back more than 5000 years. It's the best, but also the most complex method of producing sculptures.

Sculpture "The Book Reader" by Ernst Barlachs is shown here as an example:

Ernst Barlach: Sculpture 'The book reader'

Ernst Barlach 'The Book Reader' - Lost Wax Casting Technique Part 1

First, the artist forms a model of his sculpture. It is embedded in a liquid silicone rubber composition. Once the material has solidified, the model is cut out. The liquid wax is poured in the negative mould. After cooling down, the wax casting is removed from the mould, provided with sprues and dipped into ceramic mass. The ceramic mass is hardened in a kiln, and the wax flows out (lost mould).

Ernst Barlach 'The Book Reader' - Lost Wax Casting Technique Part 2Now we finally have the negative form, into which the 1400 ° C hot molten bronze is poured. After the bronze had cooled down, the ceramic shell is broken off and the sculpture comes to light.

Ernst Barlach 'The Book Reader' - Lost Wax Casting Technique Part 3Now the sprues are removed, the surfaces are polished, patinated and numbered by the artist himself or, to his specifications, by a specialist. Thus, each casting becomes an original work

For lower-grade bronze castings, the sand casting method is often used which, however, does not achieve the results of more complex lost wax technique in terms of surface characteristics and quality.

Related links:
Sand casting