Welcome to the Sculptor's Funeral Podcast RU-vid channel! Here you'll find all the episodes of the ONLY podcast dedicated to the history and the future of figurative sculpture.
Be sure to check out the playlists, which organize many of the episodes thematically (The Renaissance, Antiquity, Interviews, et c.)
To enjoy the image galleries associated with each episode, click the link below!
Thanks for this amazing story. I hope to get to Rude's techniques chapter. Your enthusiasm is overwhelming. Your work is unique, rigorous but not boring, like so many academic approaches. Every time i finish to listen one of your episodes i want run to grab my chisels and to kick my stone ! Thank you so much for your energy again... hoping to go some day to your atelier... please, keep feeling very well yourself. Mario André, from Colombia.
Yes thank you for reading it. One thing he mentions in he biography is how much wood he has to round up for each project to melt the gold. Being a gold smith myself in this day having to go get wood for each project would make want to take a nap after the hunt for wood. In his book he says he had two boys that find him wood.
I have a very good 3 foot copy of this sculpture in alabaster. It is gorgeous and glows. I assume it was purchased in the early 19th century during a grand tour. It originally was purchased by my father in Scotland at an auction on a grand estate. It is in very good condition and still has the original plinth. I have had it conserved at Queens U at Kingston by the Conservation and Restoration dept.
Looking at the 10:32 point in your video, I thought it would make sense to offset your two triangular, vertical, table top supports, one to the left, and one to the right, by only 1/2 the material's thickness, both ways, giving you a combined offset dimension between the two, of the overall material's thickness. By doing this, it would allow your two table top's triangular supports to then slide all the way down without running into the tops of your two legs. With this slight modification, your tabletop would now be adjustable to an even a lower point than your current design. Your table top would then be able to rest on top of the stand's legs. This design modification to the table top's height would basically allow for a person to be at a sitting position in front of the stand, if so desired. Just a thought. Jim Dasher Spectrum Graphics Seattle metro
Today will be Excellent. And todays appropriate story. Is. Perseus. 🔥🔥 🪷🩷💞🩷💘💘🪷 ⚕️💥💥💥💥💥 Thank you @ Sculptors Funeral. May you live to tell many more tales ..🙏 Nice 1 this is Amazing 🤭🩷💞🩷💘🤭
Are you still out there? I am listening to you for the first time from my "fibromyalgia bed" curating art, and from your selection of photos here and what you say, I am worried now, that you are still ok...really enjoying your effort, and appreciate what it takes when the body does not cooperate. Thank you!
❤❤❤ I remember you introducing me to this building! I love the story of St George and learning how this fit into it’s time history from you was so awesome!
The Polish sculptor Stanisław Zagajewski reportedly peed in the clay to improve its properties. Does that make sense or should this story be attributed to the artist's outsider personality?
Great talk :) subscribing. I still get amazed of how much a nude of a young boy can get people uncomfortable! Still today we are hoping for fig papers again
Hey Jason, are you familiar with the Brazilian Modernists work? Oscar Niemeyer and his buildings on Brasília. The Brazilian modernism doesnt seen to avoid ornament, bur the painting and sculpture that was made for this architecture take a step out of clássic ART. Thanks for the palestra
I worked for a small sculpture foundry . I was very good at making blanket molds with catalytic rubber . I did molds for Rubin Krammer, and Hans Schuler. The only bronze technique that I didn't get to learn was pointing. Rubin Krammer told me that if I could learn that skill my foundry education would be worth a half million dollars. I took my education to an industrial jewelry caster,where in 4years , I cast 1,200,000 penny weights of 10 carrat gold.
I love your program. I do my artwork every day and put all I have into it, yet I study by listening to hundreds of lectures on art history every day. I am in awe of Michelangelo and, objectively, I cannot see how anyone could not be. My artwork, a lifetime of artwork is a fraction of 1% of what Michelangelo created and, after many years, I am starting to accept that. In seeing contemporary art I also see nothing that is above a fraction of 1% of what he created. But rather than loath myself, I have come to understand, by many talks with many people who have had profound mystical experiences, that we each come to this earth to have our own experiences, filled with successes and disappointments so that our soul can grow. This is now how I see Michelangelo; a soul who has had his profound life experience, just as each one of us has, therefore comparison is not warranted nor helpful. But, try as I might, I cannot touch the Masters. Let's experience Michelangelo with utter amazement - without the need to compare. Totally disagree with you about his Bacchus.
I know, it's hard to explain in context of the american cultural milieu, but "sodomy" for the legal and moral standpoint of the historical background of Cellini's life, doesn't equal in any sense the crime of rape. He was indeed a violent and arrogant man - a true son of the now wrongly idealized Florence of his era - but for too many years a moral bias ( leaning on bigotry) about his sexuality, has impeded a correct assessment of his art.
