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Lost-wax casting – also called investment casting, precision casting, or cire perdue (French: [siʁ pɛʁdy]; borrowed from French) [1] – is the process by which a duplicate sculpture (often a metal, such as silver, gold, brass, or bronze) is cast from an original sculpture. Intricate works can be achieved by this method.
In lost-wax or investment casting, the artist starts with a full-sized model of the sculpture, most often a non-drying oil-based clay such as Plasticine model for smaller sculptures or for sculptures to be developed over an extended period (water-based clays must be protected from drying), and water-based clay for larger sculptures or for ...
The two bronze sculptures are simply known as “Statue A”, referring to the one portraying a younger warrior, and “Statue B”, indicating the more mature-looking of the two. Both sculptures were made using the lost-wax casting technique. [2]
Christ of St. John of the Cross (also known as The Lost Wax) is a sculpture by Salvador Dalí created in 1979 as the model for a series of platinum, gold, silver, and bronze reliefs. The original wax sculpture and the reliefs created from it are three-dimensional iterations of Dalí's 1951 painting, Christ of Saint John of the Cross. [1]
Dancing Girl is a prehistoric bronze sculpture made in lost-wax casting about c. 2300 –1751 BC in the Indus Valley civilisation city of Mohenjo-daro (in modern-day Pakistan), [1] which was one of the earliest cities. The statue is 10.5 centimetres (4.1 in) tall, and depicts a nude young woman or girl with stylized ornaments, standing in a ...
The lost wax technique. The Victorious Youth, also known as the Atleta di Fano, the Lisippo di Fano or the Getty Bronze, is a Greek bronze sculpture, made between 300 and 100 BCE, [1] in the collections of the J. Paul Getty Museum, displayed at the Getty Villa in Pacific Palisades, California.
When molten bronze is used, it is more typical to use a lost wax or similar process so that the finished piece is hollow rather than solid. The cast sculpture may then require some finishing work to remove mold lines and other imperfections.
Using the "lost wax" method, MacDonald cast the works of art into bronze. Using an artist method of patina, MacDonald alters the surface color of the final composition. The completed patinated bronze is affixed to a marble base, also designed and selected by the artist as part of the overall sculptural composition. [6] [7]