These were all taken either below eye level, above eye level, or to the right or left of center. From this image I developed an exact tracing of the outline and projected a simple version of it onto my wooden work surface. This was merely a guide to the proportions, as all details save the silhouettes would be covered in clay, requiring frequent reference to both the archival, c.
I model in clay, then we make molds, and castings from those molds. I cannot imagine it taking less than that. My method is to combine genuine oak with resin castings and composition moldings applied to the oak. In this case, to create the appearance of wood or faux bois false wood.
Some parts of the architectural surround will be all oak. For example: the pilasters. However, the capitals with the cherubs heads on top of those pilasters will be cast resin. By the way, this is an extremely unusual motif. Even rarer is that the volutes on the Olympic capital have been turned upside-down. I have never seen this before. Volutes are always the other way around. I can imagine that the cherub motif was to coordinate with the cherub lamp at the bottom of the Grand Staircase.
In the end, we have a rare combination resulting in what is likely a one-of-a-kind capital. How appropriate for a ship that has become so special in history.
Projecting the original photographic outlines onto photos of the new sculpture, provided essential guidance. This process showed me where clay needed to be added or taken away to stay true to the original. The human body, and particularly the face has many subtleties. An artist can set out to make the same head twice, and due to the subtleties mentioned, it won't look exactly the same in the end.
Even photos of real people can make them look older, younger, thinner, fatter depending on the lighting and angle at which they are taken. Wood is not a forgiving material to work in. Like carving in marble, once you remove, you cannot add back. From my measurements with a caliper, however, they appear to be within the usual range of ideal Classical Greek proportions. The length of the foot is approximately equal to the height of the head from the chin to the top of the parietal bone of the skull.
Unfortunately, most cameras distort and exaggerate the size of the feet when shooting at a downward angle. We trust that the work of master-carver Charles Wilson has been suitably defended from the Internet detractors! In art of this period, and the centuries preceding it, each part of a pictorial or sculptural image conveyed a meaning to the viewer. In ancient Greece, laurel wreaths were awarded to victors in athletic competitions, including the ancient Olympics.
Laurels symbolized victory and in Rome they were used to crown triumphant commanders. We love this piece and hope to someday expand our collection with more created by you. Thank you so much! Take care and happy sculpting.
Cory Charpentier, USA. Thank you so very much for taking the time to respond to all of my emails. I would also like to thank you for the amazing work you have done on all the things you make, and for the clock medium clock I already bought from you.
I cannot wait to display the cherub in our home. Best of wishes,". Our youngest collector I was very impressed by everything from the great packaging, to how easy it was to get the clock working, and how it looks and feels like real oak!! Absolutely astonishing! I really feel like I have a piece of Titanic in my hands here! Jonathan Nering, USA. Want to see this clock and all of our Titanic sculptures In person? Thanks for submitting! See Video. For the serious collector.
Learn More. Alan St. The complete full-sized architectural surround for it is expected to be completed in Nothing like this has ever been available before! The original size as on Titanic. See more George, Thank you so very much for taking the time to respond to all of my emails.
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