Salvadori Arte - Art Foundry in Tuscany
Reflections on sculpture
Salvadori Arte casts works in bronze, and ferrous alloy as cast-iron and stainless steel, using the "cire perdue" or lost wax method, the same technique used through the ages first by the Egyptians, then by the Greeks, Etruscan and Roman.
The "Zeus" of Athens, the Horses of Saint Mark's in Venice, the "Marco Aurelio" of the Campidoglio in Rome, the large sculptures of the Renaissance have been made with the same procedure that, through the time, has remained partially unchanged.
This technique consists in covering with wax, that will be later modelled a refractory clay support; then another clay layer is put on the wax so that is encased between two masses of clay.
By heating this clay container to a high heat, the wax melts and drips ut through some purposely made holes.
The liquid alloy is then poured into the thin space left by the wax, usually just a few millimetres, then the allow cools and hardens the bronze cast has been accomplished.
The most frequently used bronze alloy is composed of copper and tin.
It allows for a thin and regular surface. After the casting it is necessary to free the sculpture from a lot of outer drippings and to finish and to chisel the surfaces.
At last, through oxidation and thermal treatment, the bronze receives the desired patina.
Salvadori Arte is the last heir of Pistoia's great metallurgical tradition, which started in the eleventh century and reached its greatest splendour in the first decades to the twentieth century when the Lippi and Michelucci foundries were still active.
The Salvadori Arte foundry makes bronze sculptures for the most important Italian and foreign artists as Roberto BARNI, Luigi ONTANI, Claudio PARMIGGIANI, Mario MERZ, Steven COX, Jorio VIVARELLI, Igor MITORAJ, Mark KOSTABI, Ilya KABAKOV, Leonid SOKOV, Grisha BRUSKIN, Umberto MASTROIANNI, Pericle FAZZINI, Domenico PALADINO, Daniel SPOERRI, Fabio DE POLI, Robert MORRIS, Bino BINI, Fernando BOTERO, Mario CEROLI, Franco FOSSI , Edoardo BRUNO, Pawel ALTHAMER, Alexander KOSOLAPOV etc.. Some of its bronzes are found in the most important museums and art collections in the world, as well as in countless squares and park located in the cities of art.
"Nobody has luckily been so senseless - say in Paris or in New York - to experience a pure sculpture, leaving aside vision and limiting to the tactile pleasures of angular, of rough, of vitreous, of metallic, of smooth, of convex, of concave and of harsh.
A sculptural work is in fact visual and we might nearly define it infinite, because we can stare at it by almost infinite angles.
When it comes to equestrian effigies, it gets to epic. I now remember Gattamelata and Colleoni, two bronzes looking t one another from Padua and Venice borders. I recall the Lee statue in a square of South, its eyes towards the North.
I remember to have touched a petal of the lotus flower where Buddha of Nara seats, tall and fearfull.
I recall to have touched the Sphinx, that Erodotus saw and defined loaded with Sahara and time.
I remember Henry Moore’s big shapes, which are about to become human and do not lose their magic.
I childishly recall two Victorian marble lions, at the foot of a marble staircase, playing with snakes in the hall of a railway station. Sculptures are bodies among bodies, outer outlines which men’s invention drops among others populating space and whose image, according to idealism, may be space itself.
Oddly enough its material character emphasizes its fantastic character. Each statue is a Golem. Psychanalists have popularized a parlour game which consists of asking everyone what a certain word suggest to him.
I leave written here what suggests me the word sculpture "
Jorge Luis Borges