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Craftsmanship

The techniques associated with the production of a finished bronze are highly diverse and each of them calls for decades – if not generations – of technical know-how and aesthetic insight. 

Prior to being submitted to the scrutiny of the sculptor, and then finally to the public and the critics, the work of art undergoes a litteral metamorphosis from a clay or plaster original to a seemingly perfect bronze, by going through the skilled hands of a number of specialists, heirs to ancestral skills developed over the past 5,000 years, at least .

Gudmar Olovson held these craftsmen in very high esteem. He shared unforgettable moments with each of these passionate artisans, both in France and Sweden, every single time for the hundreds of bronzes they made for him.

Georges Bigel deserves a particular mention, as he became a very close friend and almost a family member. In the thirties he was an apprentice sculpture technician learning the ropes of the Collas sculpture reproduction machine, until he was drafted into the French army. He was captured after the Fall of France in 1940 and spent World War II as a prisoner of war in Berlin working in Arno Breker’s studio. After the war he set himself up in Montparnasse where he later met young Gudmar and was part of the latter’s introduction to the world of sculpture craftmanship. Their friendship lasted a lifetime and Georges worked his last 20 years in Gudmar’s studio rue Saint Charles, also for other sculptors, sharing all his days with Gudmar and the Olovson family. Georges was decorated “Meilleur Ouvrier de France” by the French President.

Gudmar made a remarkably forceful portrait of his friend Georges Bigel (see it here).

Helpful links about craftsmanship in sculpture:

Fonderie de Coubertin (FR+EN)

Wikipedia (EN)

Musée Rodin (FR+EN+ES)

Bringing the founder to an installation of “Concorde”
Moulder Michel making a plaster original from a clay portrait (Eric Ericson)
Georges Bigel in the studio working on another sculptor’s work
Inspecting the original plasters at Fonderie de Coubertin for the Falsterbo Open Air Museum
“The Swimmer” (L 220 cm) gets its patina at Fonderie de Coubertin
Signing the plaster of “Prelude” (H 220 cm)
At Fonderie Valsuani, Paris
“Prelude” at the moulder after aggrandisement, before being sent to Pettersson Foundry, Sweden
“Revolted Eve”, being re-sized on the 3D pantograph
The client inspects “Prelude” (H 220 cm) at Fonderie de Coubertin
Georges Bigel working in Gudmar’s studio at his volume pantograph, once used in Rodin’s studio
Fonderie de Coubertin, “The swimmer” ready for patina (L 220 cm)
Fonderie E. Godard with head founder Nino de Cristofari and L’Aurore (H 85,5 cm)
The release of the “Two Trees” woman
Sand casting at Pettersson Foundry, Stockholm by Johan Pettersson and Mark Sweeney
At Bergman Foundry, Stockholm, preparing the highly selected sand for the sand casting process
The artisans Mark Sweeney and owner Johan Pettersson, a 3rd generation founder in Stockholm
One of “Two Sisters” ready for the bronze to be poured
Metal-chasing (“ciselure”) of one of the “Two Sisters”
The dedicated team at Fonderie de Coubertin, France, led by Christophe Berry (left)
Portrait of HRH the King of Sweden under patina
The wax model of “Prelude” (220 cm) alongside the plaster original 
Working on a piece for Volvo with the glass master at Orrefors Kosta Boda
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