Prima Gallery

Bernini is one of the most famous and talented artist of the baroque period and indeed of all time. His work was a testament to his skill and genius. One such work that continues to enthrall observes today and was given the spotlight in Dan Brown’s book (and the subsequent movie of the same name) Angels and Demons, is the Ecstasy of St. Teresa (1647-52). What fallow is some background on the artist himself and the real story behind this magnificent sculpture.

About the Artist

Gianlorenzo Bernini was born in Naples December 7th, 1598 and received his first education from his father Pietro, who was a successful Florentine sculptor. From a young age he was a prodigy and chiseled his first bust when he was only 8. He learned by studying the sketching the great masters. It was not easy to follow in the footsteps of such great artists as Michelangelo and Raphael but Bernini did just that. Soon he was getting commissions form nobles and even the pope himself.

Bernini himself was passionate about the theater and an innovative scene designer. He was at his best when he could merge architecture, sculpture and painting. He accomplishes this magnificently in the Ecstasy of St. Teresa.

The Statue

The statue is set in Cornaro Chapel in the church of Sta. Maria della Vittoria. The sculpture recounts one of her divine experiences; of how an angel pierced her heart with a flaming golden arrow. The statue shows the moment as the angel has pulled the arrow out from her. In her own words Saint Teresa says: “The pain was so great that I screamed aloud; but a the same time I felt such infinite sweetness that I wished the pain to last forever. It was not physical but psychic pain, although it affected the body as well to some degree. It was the sweetest caressing of the soul by God.”

The figure of the angel comes directly from the saints’ account. She describes him as young and beautiful. St. Teresa herself is reclined on a floating cloud, her mouth parted. Both are on a floating cloud as they appear to rise toward heaven. The saints garments are chiseled in such a way as to appear all rippled and disheveled – an outward sign of her turbulent spirit within. The angel’s garments are done in such a way that they make him look like he is wrapped in flames.

They are both lit from above by a window and above that is a fresco by Guidebaldo Abbatini depicting the glory of the heavens. At its center is a brilliant burst of light and clouds of jubilant angels surround it. This celestial “explosion” gives force to the thrusts of the angel’s arrow and make the ecstasy of the saint believable.

Many think of sculpture as a static, ever-constant work of three-dimensional art such as classical figurative works in stone. Kinetic sculpture is a far cry from these weighty forms. Kinetic sculpture is made up of light, flowing, free-moving parts that create an ever-changing combination of forms. Any art form made of free-moving components can be called a kinetic sculpture.

Alexander Calder: The Inventor of the Kinetic Sculpture Mobile

The first widely-recognized kinetic sculpture was created by artist, Alexander Calder around 1930. Calder created much of his earlier work using wire and focusing on linear forms. He would create sculptures of animals and people, forming their features and creating the illusion of mass with the linear wire. After creating a series of these sculptures, his work started to evolve toward simpler, but more interactive works of art.

Inspired by Modernist artist Piet Mondrian, Calder combined simple geometric shapes in bold colors with his linear wire to create hanging artworks. These artworks were created by suspending a series of wire branches, that would hang from a pivot point, from one main suspension point on the ceiling. These series of wires and shapes would hang and slowly swivel back and forth from their varying suspention points.

After witnessing some of Calder’s kinetic sculptures, French Dadaist artist Marcel Duchamp gave them the name mobiles, which indicated that they were made for motion. This term caught on and Calder’s sculptures were, from then on, known as mobiles. Calder continued to create large, free-moving mobiles, some of which extended as far as 20 feet long.

Teaching Kinetic Sculpture in the Art Classroom

Students can learn to use movable elements to enhance a work of art. They can do this by adding a kinetic element to a sculpture project or by creating an entirely kinetic work of art like a mobile.

To add a kinetic element to a work of art, the art teacher can ask that the students to attach an element using one pivoting point, one suspended line, or a hinge that allows the item to flip. This attachment could be incorporated into metals projects, wood projects, or even those projects made from matte board. Student could use wire, string and fasteners to attach these kinetic elements. To keep the work meaningful, the teacher could have the students write a justification or an artist’s statement about the use of their kinetic element.

To create a mobile based on Calder’s work, the students could use wire, string and matte board. Spray paint could be used to color the pieces of matte board. The teacher could require the students to start with a horizontal wire that would suspend three different kinetic elements. Students could use a limited color palette of three to four colors and use varying sizes of the same shape to create a harmonized look.

Appreciating Kinetic Sculpture

Though kinetic sculpture does not attempt to realisticly depict a figure, its beauty comes from the poetic grace of its movement and color. Art viewers can appreciate the simple charm in its form and construction. Kinetic art will constantly transform and engage an art viewer.By appreciating this type of kinetic sculpture, art viewers can expand their cultural horizons and experience something purely beautiful.

One of the most versatile members of the art medium world, polymer clay can be used for anything from a fun arts and craft project to beautiful sculptures.

What is Polymer Clay?

Polymer clay is not true clay. Instead, it is made from polyvinyl chloride (PVC) and plasticizer. It comes in a variety of colors, including metallic sheens such as gold and silver. The colors can also be mixed to create custom tones.

Types of Polymer Clay

There are several different brands of polymer clay, including Sculpey and Fimo. Although they are essentially made from the same material, each brand has its unique characteristics. Sculpey, for example, is softer than Fimo (unless Fimo Soft is purchased.) Colors also differ from brand to brand.

Different brands can often be mixed to combine elements of each.

Where to Find Polymer Clay

Polymer clay can be found in arts and craft and art stores, as well as some specialty stores (such as those that sell beads) and via the Internet.

They usually come in small packets, with each color wrapped individually. There are also sets available, and larger sizes for certain colors.

How to Use Polymer Clay

No matter the brand, polymer clay needs to be worked before using. Take a small amount of clay and roll, squeeze and pinch it until it has achieved the desired consistency. The harder the clay, the more it will need to be worked. Softer clay can be handled in larger sizes.

Once it has achieved a workable consistency, polymer clay is easy to shape. It is a good idea to start with simple projects at first, in order to get a feel for this medium.

Polymer clay is hardened in the oven, where it will retain its shape and color. Be careful not to over bake, however. Follow the instructions on the package carefully.

Possible First Project

Making beads is a good initial project for those who are using polymer clay for the first time. Take a chunk of clay and work it. Two or more colors can be mixed to create a marble effect. Roll each color into a ‘string,’ put them together and roll them all into a ball. Be careful not to overwork, since the desire is for each color to make an appearance. If mixed too much, the colors will meld into a solid color.

Break off pieces from the whole, making sure that they are the wanted size for the bead. Roll it until it forms a ball, then take a pin, a sharp toothpick, or other pointed implement and pierce through the middle of the ball from end to end. Repeat until the desired number of beads have been created. When there are enough beads, bake them in the oven, and then let them cool for a few minutes before stringing them together.

A Versatile Medium

Polymer clay can be used to make a variety of things. It can be used to create lifelike sculptures of animals and flowers, or dollhouse effects. Beads and other pieces of jewellery are also possible, as are magnets, and two-dimensional sculpted paintings.

Metal fabricator Kevin Stone uses gas tungsten arc welding (GTAW) to sculpt massive pieces of art from stainless steel. Read about Stone’s creative and technical processes and discover important tips that can improve your stainless steel welding.

A few years ago Kevin Stone, a senior fabricator, decided to combine his years of welding experience with his innate artistic ability and began creating stainless steel sculptures on a large scale. While people make the pilgrimage to Stone’s yard in Chilliwack, B.C., to see the “Power of Flight,” a 12-ft. tall, 18-ft.-long stainless steel eagle with a 41-ft. wingspan, Stone is busy inside his studio working on his latest project: an 85-ft.-long Chinese dragon.

With price tags of more than $3 million, Stone’s sculptures are designed to weather the elements and never lose their shine. His objective is to create “shock and awe artwork … beauty on a large scale.” To achieve this vision, he works with stainless steel, which he considers to be one of the more difficult metals to work with.

“Very few people can weld thin stainless,” Stone said. “It will oxidize quickly, overheat, and burn through. It requires polishing to bring out its beauty, which is very labor-intensive. Very few people work with it. However, it’s worth the effort. Once it’s polished, it can be out in the elements, and it won’t corrode, rust, or lose its mirrorlike quality. My vision is for my sculptures to be mounted over water to bring out the reflective qualities and use colored lights for effect.”

About 14 months into the “Chinese Imperial Water Dragon” , Stone already has used 1,800 sq. feet of 16-gauge 304 stainless steel and expects to use another 1,800 sq. ft. before he’s done.

The Creative Process

When beginning a new sculpture, Stone conducts some preliminary research and design, but he builds primarily from his imagination. “I have a blueprint in my head that I follow,” he said. “I visualize five to 10 steps ahead of what I’m working on. I picture what the overall shape will be and try to think of something that will fit inside that shape, yet be structurally strong.”

To help with fit-up and save both time and material, Stone first works out the details on paper. After he finishes one piece of stainless, he cuts a piece of paper to represent the next piece and ensure it fits perfectly before transferring it to a piece of stainless.

Stone shapes the pieces by hand and then tack-welds them into place with his Miller Dynasty® gas tungsten arc welding (GTAW) machine. He first places the welds several inches apart. When Stone is happy with the fit-up, he adds more tack welds between the existing welds until there are welds about every half-inch. He eventually finish-welds the pieces together, welding a 10-in. section in one place and then moving to another section. This helps to minimize the heat input and to ensure proper fit. He finishes by grinding down the welds and polishing the pieces.