Sculpture techniques: modelling in clay
Clay is a very versatile raw material. It is relatively cheap and widely available. It can be modelled by the sculptor to form a unique object, or moulded by workshops for mass production. Sculptors often made rapid sketches in clay to capture initial ideas and then developed more finished models to show to patrons. They also used clay models when transferring compositions into more permanent materials such as marble. Clay can also be pressed into moulds, enabling multiple copies to be made.
Modelling marks are not usually visible in finished pieces of ceramic sculpture but can often be seen in ceramic models made for sculpture in other media. Typical are rough, uneven grooves and ridges caused when clay is pushed to one side as marks are made.
Fired clay is known as 'terracotta' (cooked earth). The firing irreversibly changes the clay, making it stronger and capable of receiving a variety of surface finishes. Clay models were sometimes fired to preserve them. Large European works, such as the ‘stemma’ or coat of arms, made by Luca della Robbia for King Rene of Anjou, were cut into pieces with cheesewire in order to fit into the kiln, and joined together after firing.
These objects explore the nature and working of clay, the role of terracotta models in European sculpture and the acceptance of undisguised terracotta for finished works of art.