To these aspects was added the importance of the information collected through the examination and analysis methods. The Conservation and Restoration field has also been developing studies dedicated to these issues, not only about the knowledge of production techniques and their evolution, but also about the type of restoration performed over time. The maintenance of plaster pieces is essential, as didactic material or as a register of the artistic creation, but also because they become unique testimonies of the state of the pieces in a certain moment, or even of the existence of some works of art that disappeared over the years. The concern for the preservation of these elements is now a vital issue. This teaching method is still common today, pursuing an ancient practice of learning for the future artists and our current students, through drawing, painting, sculpture or even copying, continue learning the basis for their future artistic development.Īlthough its presence in museums in the 19 th century was not maintained in the following century, which gradually moved away from the idea of the Universal Museum, today, the reproductions of the great masterpieces are themselves valued objects, giving birth to large collections, which must be preserved and which have been occupying prominent places in numerous museums and art galleries in the international context. The growing importance of teaching Industrial Art has also given great importance to learning through the observation and reproduction of the great national and international artistic models, seeking the creation of a new plastic expression, based on artistic tradition. At the same time, on the architectural decoration field, one witnesses a similar phenomenon, by finding elements copied from important national and foreign monuments. In the 19 th-century Academies, it became practical to exchange patterns of the great museums and collections’ main sculptures, aiming at the creation of sets of models for students’ learning. On the other hand, its use for making moulds easily, and later plaster casts or reproductions, has allowed the spread of three-dimensional shapes around the world, making the great works of art available to those who could never see them in their original place. Their preservation often represents the memory of the creation process itself. In the artistic production field, even though they often do not represent the final work, the plaster pieces can show us the artists’ original intentions or the various studies and stages of artwork creation. Because it is very easy to prepare and very malleable, it has been chosen as a material for both architectural decoration and sculpture, due to its ability to imitate other noble materials and, especially, because it is replicable if using casts. However, issues concerning sculptural practice itself have been secondary until very recently, although the use of plaster as a material for artistic production has been a constant over the centuries. Indeed, it was at the end of the 20 th century that the first in-depth studies on the application of plaster in architectural decoration began to emerge, and a new set of plastering artists became known and valued. The «Art» of plaster has been valued by our historiography over the last few years. University students (extra FBAUL – in person or online): €25 (with proof)įaculty members, FBAUL students and alumni, CIEBA member authors, CIEBA member students, members of the Scientific and Executive Committees (in person or online): Free (mandatory registration) General public registration (in person or online): €50 Remaining participants – November 3, 2021 The “Art” of Plaster – Between Creation and Reproduction - Study and Preservation - NEW DATESĨ, 9, 10 NOVEMBER 2021 | Lisbon | Faculdade de Belas-Artes da Universidade de Lisboa
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