Since then its demise has often been predicted and with the rise of abstraction, landscape painting was thought to have degenerated into an amateur pursuit. Two of the greatest British landscape artists of that time were John Constable and JMW Turner, whose works can be seen in the Tate collection ( There can be no doubt that the evolution of landscape painting played a decisive role in the development of Modernism, culminating in the work of the Impressionists and Post-Impressionists. As a genre, landscape grew increasing popular, and by the 19th Century had moved away from a classical rendition to a more realistic view of the natural world. Their treatment of the landscape differed: the French tried to evoke the classical landscape of ancient Greece and Rome in a highly stylised and artificial manner the Dutch tried to paint the surrounding fields, woods and plains in a more realistic way. In early paintings the landscape was a backdrop for the composition, but in the late 17th Century the appreciation of nature for its own sake began with the French and Dutch painters (from whom the term derived). Landscape is one of the principle genres of Western art. Text by Sarah Gillett, Visual Arts Manager, British Council, from the catalogue for the exhibition Henry Moore in Qatar, 2007 Glossary A greenish patina was painted onto this maquette and the eventual monumental scale sculpture, adding to the impression that the work could be read as both figurative and landscape. Once cool, the sand was then brushed off, leaving a dimpled surface which was polished and smoothed when the pieces were welded back together. For large sculptures the foundry used the ‘sand casting’ technique, where sand was packed tightly around sections of the plaster model, which are then replaced by molten bronze. As the model was enlarged further, polystyrene was used as it was easier and lighter to carve, before being transferred into plaster once again and sent to the foundry for the final casting. Detailed measurements were taken of the maquette and using a grid reference, a working model around 5 times bigger was produced in plaster and again sent to be cast in bronze. This maquette went on to be scaled up to over 4 metres long. The wax was then surrounded with a further mould of plaster and melted out to be replaced by molten bronze. A rubber mould was made around the plaster, removed, and filled with wax leaving a perfect wax version of the maquette. The plaster maquettes were sent to a bronze foundry where the ‘lost wax’ method of casting was used. Not all maquettes were finished or cast, but once Moore was satisfied with a plaster, it would be cast in bronze for him to continue working from.
![maquette cast maquette cast](https://i.etsystatic.com/10574275/r/il/2aebc4/736533756/il_794xN.736533756_26x7.jpg)
He imagined them as though they were a fully-realized large bronze or stone sculpture, so that he could visualise how the piece would look on a huge scale. If the maquettes were kept underneath a damp cloth so they didn’t dry out, he could work on several at a time to develop an idea or experiment with different forms.
![maquette cast maquette cast](https://i.etsystatic.com/10574275/r/il/cc070e/736534062/il_794xN.736534062_e1me.jpg)
Hundreds of maquettes like this stood in his studio, each one taking between twenty minutes and three days to complete. In this way he could work on the whole form at once, producing maquettes like this one with no front or back, easily read from either side. Instead, Moore worked directly with plaster and terracotta to produce maquettes of around fifteen - twenty-five centimetres long or high, using small scalpels, metal spoons, cheese graters, and other items he had conveniently to hand. Please contact me ASAP.After the second world war Moore no longer made preparatory drawings for sculptures, although he still experimented with three-dimensional ideas within his drawing and would sit down and sketch from his sculptures themselves. So, if you have an interest in enlarging the piece, buy the maquette now to preserve the opportunity to enlarge at a later date. Only the owner of the maquette will have the ability to obtain the Rights to Enlarge - for an additional fee - at any time. NOTE: Purchase of the maquette does not automatically include the Rights to Enlarge the sculpture. Insurance and tracking number is included. The sculpture will be shipped in a sturdy, well-cushioned box. The maquette measures 12-inches high by 4-inches wide by 4-inches deep. It will come with a thick marble base to sit on. As the maquette it makes a very nice desk top sculpture.
![maquette cast maquette cast](http://www.francis-miniatures.com/71508-thickbox_default/maquette-russian-t-72b-mbt-cast-turret-1989.jpg)
Solid cast aluminum.Įnlarged, this would make a very nice sculpture in front of a tall building. This geometric, architectural piece was originally designed as a maquette (model) to be used as the 3D blueprint to build a monumental sculpture, but I am offering it now as desk top art. BEST GIRL FRIENDS - an abstract sculpture by Richard Arfsten.