Electrotype
Obtaining copper sculpture by electroforming technique
One of the first applications of electroforming was the creation of decorative sculpture. Electroplating technique in the 30-40s. XIX century in Russia, a significant number of sculptures were made that have survived to our time (for example, part of the sculpture on the facade of St. Isaac's Cathedral in Leningrad, sculpture in Catherine's Park in the city of Pushkin, etc.).
The sculptor usually creates his work in clay or plasticine. However, the work never remains in these materials - it is transferred to the hands of craftsmen who transform the sculpture into more durable materials that do not collapse over time: copper, bronze or cast iron.
Reproduction of sculptures in bronze or cast iron is possible only by casting, which, unfortunately, does not make it possible to obtain a sculptural work with absolute accuracy: when casting, the transmission of the smallest strokes deteriorates, and with them the manner in which the molding is reproduced changes.
In order to recreate a sculpture in metal while preserving all the details of the work of the sculptor, they resort to the technique of electroforming, the area of \u200b\u200bwhich is engaged in the reproduction of sculptures, is called artistic galvanoplasty. Reproduction is understood as the production of copies from sculptures, executed with full preservation of volumetric dimensions and texture (the nature of surface treatment).
It should be noted that both the original sculpted by the sculptor and the copy obtained from it in any material are called sculpture. The original sculpture is called model unlike the final copy, which is reproduction. The latter, made in metal by electroforming, is called electroplating products.
The term "sculpture" is applied not only to large monumental works (for example, statues), but also to smaller objects (for example, medals).
From the point of view of the technique of reproduction, the spatial (volumetric) nature of the outlines of the sculpture is of paramount importance. On this basis, the sculpture is usually divided into unilateral and multilateral.
One-sided sculpture is intended for viewing from places located on the central axis perpendicular to the background plane. One-sided sculpture includes bas-reliefs (low relief) and high reliefs with high relief (in high reliefs, a convex image protrudes strongly above the background plane).
Versatile sculpture(statues) can be viewed from any place and from all sides, although it always has a main, facade side.
Intermediate between unilateral and multilateral is medal sculpture. It is usually combined from two one-sided sculptures, one of which represents the face (obverse), the second - the reverse side (reverse). The reverse of the medal is very often provided with only text.
From a sculpture made in clay or plasticine, draft forms are usually removed from plaster, from which clay models are then removed, destroying the latter. The draft form, as a rule, consists of two (rarely three) parts - shells (Fig. 2). Electroplated copies are taken from individual shells, which are then soldered together so that a three-dimensional metal reproduction is obtained.
Rice. 2. A gypsum draft shell.
To obtain a reverse imprint - a form in the practice of artistic electroforming, as already mentioned, wax, ozocerite, plasticine, wax alloy, and Viksint sealant are used.
Other materials are also suitable for molds with low relief, such as sheet "organic glass" - a plastic that is softened in hot water before pressing. Of all the forms, the most perfect, characterized by absolute precision, are copper forms obtained directly by the electroforming technique. Wax and plastic molds are usually used to reproduce flat sculptures (bas-reliefs, ornamented dishes, medals) and other artistic products that do not have “locks” (undercuts), that is, products removed from the molds “to exit”.
copper molds, obtained by electroforming, meet the highest requirements: they give accurate reproduction, have high electrical conductivity, do not shrink (especially characteristic of wax compositions) and can be repeatedly used for reproduction.
The method of manufacturing copper molds is that the metal is built up directly on a plaster or wax model. Previously, as in the case of building metal into a plaster or wax form, the relief of the model is rubbed with graphite to make it electrically conductive.
Having increased the metal on the model, they get its reverse image (counter-relief), that is, the shape. Usually such forms are made with a thickness of 2-3 mm.
The preparation of such molds before building up metal in them is different from the preparation of wax, plaster or other non-metallic molds. Such forms do not need an electrically conductive layer, but instead they need to be coated on their working surface with the so-called separating layer, which prevents the mold metal from splicing with the metal deposited during the electrolysis process. As a separating layer, for example, a layer of silver is suitable. To obtain such a layer, a special composition is prepared, for which 10 g of silver nitrate is dissolved in 0.5 l of water and mixed with a solution of sodium chloride (of any concentration). The precipitated flakes of silver chloride are separated by decontamination, dissolved in a 5-10% hyposulfite solution, and a copper mold is lowered into this composition.
The silvering of the surface of the mold is carried out without the use of an electric current source - due to a chemical reaction: silver, recovering to a metallic one, covers the copper mold with a uniform thin layer (tens of microns thick). Further precipitation of silver from the solution will stop as soon as the formed silver film stops direct contact of copper with the silver solution.
This method of displacement of one metal by another as a result of the difference in their electrochemical potentials is called contact.
Electroplating is an electrochemical process in which the shape of a product is recreated by depositing metal on it. The method of electroplating involves the coating of non-metallic surfaces with metal.
Application of technology
Electroplating is often applied to various fine objects (jewelry, orders and medals, coins, shells, flower pots, sculptures, portraits, etc.). The most common metal used in electroplating is copper. However, other metals can be used, including nickel, chromium, steel, silver.
Subject to all technological requirements, it is possible to distinguish the copied object from the original only by the barrier layer or by removing the original. And all the work is quite possible to do it yourself at home.
Note! The coating of the product to be copied must be electrically conductive. If the material is devoid of this property, bronze or graphite is applied to it.
Form creation
From the product that we will copy, we take an imprint. To do this, you need some fusible metal, plasticine, gypsum or wax. If we use metal, we process the object to be copied with soap and put it in a cardboard box. Next, fill it with a low-melting alloy.
When the casting is completed, we take out the product and the resulting form is first subjected to degreasing, and then copper plating in the electrolyte. To avoid metal deposits on those sides where there is no impression, we melt the metal in boiling water to obtain a matrix. Fill the mold with plaster. The output is a copy.
To create a matrix, you need the following composition:
- wax - 20 parts;
- paraffin - 3 parts;
- graphite - 1 part.
If the form is created from a dielectric material, an electrically conductive coating is applied to its surface. The conductive layer is applied either by metal recovery or mechanically, which involves applying flake graphite with a brush.
Even before the start of mechanical surface treatment, we grind the graphite in a mortar, sift it through a sieve. The best adhesion of graphite is observed with plasticine. Gypsum, wood, glass and plastic molds, as well as papier-mâché, are best treated with a solution of gasoline and wax. When the surface is not yet dry, we apply graphite dust to it, and blow off the adhering substance with a directed air stream.
Electroplated coating is easy to separate from the matrix. If the form is metallic, we create an oxide or sulfide electrically conductive film on the surface. For example, on silver it will be chloride, on lead it will be sulfide. The film will help to easily separate the form from the coating. In the case of copper, silver and lead, coat the surface with a 1% sodium sulfide solution to create insoluble sulfides.
Materials and equipment
When the form is ready, we put it in a galvanic bath connected to an electric current (to prevent the dissolution of the separating film). First, we cover the conductive copper layer under conditions of low current density.
We need the following composition:
- copper sulfate - 150-200 grams;
- sulfuric acid - 7-15 grams;
- ethyl alcohol - 30-50 milliliters;
- water - 1 liter.
The operating temperature in the electrolyte bath is 18-25 degrees Celsius. Current density - from 1 to 2 amperes per square decimeter. Alcohol will be needed to improve the wettability of the coating. As a source of direct current, you can use a charger for car batteries. We also need an ammeter with the ability to measure current strength from 0 to 3 or 5 amperes. Usually, an ammeter is already on the chargers.
Nichrome wire will serve as a rheostat. We wind it on any ceramic plate. A coil from an electric heater will fit perfectly.
As a bath, any plastic container with a volume of 2 to 50 liters is suitable, depending on your needs. We use a copper plate as an anode.
Note! The area of the anode should be approximately equal to the area of the workpieces.
To create a conductive layer for the product, add a few drops of varnish to the bronze powder. It is recommended to use a colorless nitro varnish. The varnish needs to be made more liquid, so we dilute it with acetone to the consistency of a liquid paint and varnish composition.
Manufacturing process
We take about a 20-centimeter segment of a stranded cable and remove the wire from it. We protect the insulation on both sides of the wire, bend one end of it at an angle of 90 degrees and glue it to the plastic part with instant glue. Moreover, BF glue will not work, as it will dissolve.
When the items are dry, we degrease them with household chemicals (for example, washing powder). Next, rinse the product in running water or treat it with acetone.
The details are firmly fixed on the wire. Now they can be dipped one at a time in a pre-prepared bronze paint or applied with a brush. The entire surface must be evenly painted. It is recommended to use insulated wire from the cable, otherwise copper will get on the bare wire, which will lead to additional consumption of the anode.
After an hour of drying the surface, the dried ends of the wires are twisted together. Parts must not touch each other. Next, we attach the products to the positive contact and immerse them in the bath. A few seconds after the dive, the copper plating process, noticeable to the naked eye, will begin.
The thickness of the copper coating may vary depending on the circumstances, but for small items it will be approximately 0.05 millimeters. The parts are in the bath for 15 hours. The current is adjusted by moving the contact along the nichrome rheostat within 0.8-1.0 Amperes. After copper plating, we increase the current to 2 amperes. When the exposure time of the parts has expired, we wash the objects in running water, dry them, and cut off the wire. We clean the wire and prepare it for the next procedure.
The next step is polishing. For this, a motor equipped with a metal round brush is useful. This job requires some skill. As a result, we should get a surface that looks like blackened bronze with separate shiny areas. If it was not immediately possible to achieve the desired result, we again apply sulfuric ointment, heat the product over the fire and polish it.
For those who doubt the effectiveness of the procedure described above, we suggest doing a test. To do this, you need a container for the electrolyte, where you need to lower a little copper. Paint one part from a spray gun in 2-3 layers in a bronze color. Next, you need to connect to the battery without using a rheostat. An adapter from the player is also suitable.
Other metals
In addition to copper, other metals can be applied to a non-metallic surface, including gold or silver. Silver electroplating can be done in one of two ways: chemical or electrochemical. Chemical silvering is done by immersing the product in a boiled solution with silver. The electrochemical process gives a more reliable result, since the coating is more durable as a result of exposure to electric current. Silver electroplating is widely used in the manufacture of jewelry.
So, electroplating at home is quite possible. The process is quite laborious and requires certain skills, but the end result is worth it.
the release of heat during the passage of electric current through the electrolyte.
Filtration of the electrolyte should be carried out as often as possible in order to remove sediment from the baths - sludge that accumulates in the form of powdered copper, graphite and dust.
The higher the current density and the more intensively the anodes dissolve, the more sludge is collected in the bath (this is especially observed when using low-grade anode copper).
As a rule, the sludge settles to the bottom of the bath, but its lighter particles, being in suspension, move to the cathode due to convection, which causes clogging of the galvanoplastic copper.
The sludge, in contact with the copper deposited on the cathode, is included in the metal, leading to the formation of roughness and bumps that prevent further uniform deposition of the metal. In addition, graphite, used as an electrically conductive layer for molds, also pollutes the electrolyte, intersperses in the metal and causes surface roughness. Therefore, electrolyte filtration is essential to create benign copper deposits. Typically, filtration is performed by siphoning the electrolyte through a filter made of cloth, glass or asbestos fiber.
OBTAINING COPPER SCULPTURE BY ELECTROMAGNETIC TECHNIQUE
One of the first applications of electroforming was the creation of decorative sculpture. Electroplating technique in the 30-40s. 19th century in Russia, a significant number of sculptures were made that have survived to this day (for example, part of the sculpture on the facade of St. Isaac's Cathedral in Leningrad, sculpture in Catherine's Park in the city of Pushkin, etc.).
The sculptor usually creates his work in clay or plasticine. However, the work never remains in these materials - it is transferred to the hands of masters who transform the sculpture into more durable materials, without destroying it.
shaky with time: copper, bronze or cast iron.
Reproduction of sculptures in bronze or cast iron is possible only by casting, which, unfortunately, does not make it possible to obtain a sculptural work with absolute accuracy: when casting, the transmission of the smallest strokes deteriorates, and with them the manner in which the molding is reproduced changes.
In order to recreate a sculpture in metal with the preservation of all the details of the work of the sculptor, they resort to the technique of electroplating, the area of \u200b\u200bwhich dealing with the reproduction of sculptures is called artistic electroplating. Reproduction is understood as the production of copies from sculptures, executed with full preservation of volumetric dimensions and texture (the nature of surface treatment).
It should be noted that both the original sculpted by the sculptor and the copy obtained from it in any material are called sculpture. The original sculpture is called a model, in contrast to the final copy, which is a reproduction. The latter, made in metal using electroforming, is called electroplating.
The term "sculpture" is applied not only to large monumental works (for example, statues), but also to smaller objects (for example, medals).
From the point of view of the technique of reproduction, the spatial (volumetric) nature of the outlines of the sculpture is of paramount importance. On this basis, the sculpture is usually divided into unilateral and multilateral.
The one-sided sculpture is designed to be viewed from places located on the central axis, perpendicular to the background plane. One-sided sculpture includes bas-reliefs (low relief) and high reliefs with high relief (in high reliefs, a convex image protrudes strongly above the background plane).
Versatile sculpture
In this article we will tell you how icons made by electroplating are made. And to begin with, let's start directly with the fact that what is it - electroplating?
The method of creating copies by the electrolytic method was discovered by B.S. Jacobi 100 years ago. This process was called, in a complex word, electroplating. We will not give a detailed technology here, you can familiarize yourself with it on the Internet or, having read special literature, we will describe only the most basic.
In short, electroplating is the electrochemical buildup of a thick metal layer in a liquid electrolyte. In this article, we will only be interested in copper, although other metals can also be increased by electroforming.
So, there is an anode and a cathode. To completely confuse everything, a plus is connected to the anode, and a minus to the cathode. Copper ions move from the anode to the cathode.
To remember once and for all what and where to connect, you can simply remember that positive charges are attracted to negative ones. Copper ions are positively charged, so they will be attracted to the negative terminal of the power supply.
We will consider the process of making electroplated copies using the example of a copy of a toroid for a transformer made of plasticine. After the mold is made, a stripped copper wire is laid around it, from which the build-up of copper will begin. It can be seen in the photos below.
Then, a conductive layer is applied to the copy, in our case it is a special graphite in an aerosol package (Graphit 33, kontakt chemie), it is convenient to apply it and it has a resistance of hundreds of ohms, which will be optimal.
Due to the fineness of the graphite particles, all the irregularities are immediately visible. Whether this is good or bad depends on the case. Since the copper will be thick, all the irregularities will be overgrown.
In the manufacture of icons, special blanks (waxes) are used as "blanks", made from special jewelry wax, on which a conductive layer is also applied. The blanks are an exact copy of the future icon, which will be obtained at the end of production, and therefore small irregularities and roughness on it are unacceptable. The photo below shows two blanks of icons made of jewelry wax, Nicholas the Wonderworker and the Mother of God of Vladimir.
The composition of the electrolyte includes sulfuric acid, which in our country of idiots is classified as a precursor, which means that it cannot be found on free sale. Have to get it. You can get it as an electrolyte for car batteries. The concentration of the acid is not important to us.
So, the composition of the electrolyte for operation without mixing from the book by Kaznayachey B. Ya, "Galvanoplastics in industry"
CuSO4 (copper sulfate) - 200g/l
Sulfuric acid (by mass of pure H2SO4, must be recalculated depending on the concentration) - 30g / l
Ethyl alcohol - 5g / liter (to increase wettability)
Operating mode - 1-3 A / dm ^ 2 at a temperature of 18-20 degrees.
The growth rate of copper at this current density is 220nm (nanometers)/minute. That is, to obtain 1mm of copper, it will take 4545 minutes, or three days. With twice the current density, the time will be half as much. Everything is simple.
So, we prepare all the ingredients, I'm getting ready to make three liters of electrolyte:
We dissolve. First, pour vitriol, pour distilled water into it, wait for dissolution, it is better to mix (you will have to wait quite a long time!). After that, pour sulfuric acid. The acid must be poured like this:
Be sure to acid into the water, and not vice versa, and preferably on a glass rod with constant stirring. Technical vitriol contains carbonates, so be prepared for the acid to sizzle upon first contact with the solution.
Let the solution settle a little (when adding acid, part of the vitriol may precipitate - its solubility decreases) and filter it. I filtered through regular cotton cloth. I know that this is bad - it dissolves, but there was nothing else. In principle, you can simply defend the electrolyte, then all the dirt will settle to the bottom, and then drain the “tops”.
I made the electrolysis bath itself from a piece of a 6-liter bottle of mineral water.
In the process of dissolution of the anode, well-aimed particles of copper fly off it - the so-called sludge. This sludge, floating on the solution, falls on the form. Due to such inclusions, copper on the workpiece does not grow evenly, dendrites appear. In industry, in order to prevent sludge from getting into the general solution, either casings made of a special acid-resistant fabric or PVC boxes are used. I decided not to go far from the bottle theme, and made a box from another mineral water bottle.
It is done simply - we bend a liter bottle to obtain a rectangular profile and poke a 100W soldering iron many, many times. The main thing is that when this box is lowered into the solution, the waterline is in a place not pierced with holes. Naturally, the bottom also should not be full of holes.
Loading the workpiece. In my opinion, it is better to first pour the electrolyte into the bath, and only then immerse the mold.
Now - the most important thing, we are building up copper. The extension itself consists of two stages - tightening and, in fact, extension.
Tightening - coating of the entire workpiece with copper is carried out at low currents, usually up to 1A / dm ^ 2. Personally, I first start at 100mA / dm ^ 2 and gradually bring it up to an ampere, because at the beginning the conductivity is distributed very unevenly and hydrogen bubbles may appear in the pestle of the wire, which will spoil all the copper.
Building. Everything is relatively simple here - we turn on the maximum current and wait for the end of the process. The main thing is not to forget to feed our copper-eating monster.
End of the tightening process. The total current is 1A, and the density is 0.64A / dm ^ 2:
Immediately after the end of electroforming, half of the toroid looks like this:
The process of making icons by electroplating is completely identical. A conductive layer is applied to the wax blank, then a layer of copper of the required thickness is deposited on it by means of an electrochemical process. If necessary, a layer of silver can be applied over the copper, resulting in an icon "under silver".
The only drawback of production is toxicity, since chemicals are used in the technology.
Electroplating only seems complicated on the surface, but in practice everything is quite simple. This method allows you to create documentary exact copies of bas-reliefs, coins, coats of arms, medals, emblems, etc. Widely used in restoration.
In 1836, the Russian scientist Boris Semenovich Jacobi discovered a method for obtaining copies in metal electrolytically. This was an outstanding discovery, in the history of culture it can be equated with the discovery of printing.
The discovery was called galvanoplastics, since the copper deposited in the electrolysis process plastically accurately reproduced the shape on which it was deposited. After the discovery of electroforming, B. S. Jacobi continued to work on improving his invention and only in 1838 demonstrated it at the Academy of Sciences in St. Petersburg. Since then, electroplating has become widespread.
In 1844, for the first time in the world, a large industrial galvanoplastic enterprise was organized in St. Petersburg - a factory for the production of monumental sculpture. The plant was founded by M. Leuchtenbergsky * with the advice of B. S. Jacobi. In 1857, the plant was sold to entrepreneurs Genk, Pleska and Moran, who, in addition to electroplating, also organized bronze casting for sculpture ** .
* (Maximilian of Leuchtenberg (1817-1852) - son of the Italian Viceroy Eugene de Beauharnais, husband of Nicholas I's daughter Maria.)
** (Directory "Statistical information about factories and plants". SPb., 1863)
The Leuchtenberg plant was originally called "St. Petersburg Electroplating and Artistic Bronze Enterprise", but later, in connection with the introduction of iron art casting at the plant, it became known as: "St. Petersburg Electroplating and Foundry Enterprise".
B. S. Jacobi rightly considered the Electroplating Department of the Expedition for Procurement of Government Papers to be the first electroplating enterprise, which, under semi-production conditions in 1839, was the first to master the technique of electroplating * .
* ("Notes of AN". SPb., 1869, v. XV, book. one)
The first model for reproduction was the work of the famous Russian sculptor Fyodor Petrovich Tolstoy. It was a bas-relief depicting a scene from Homer's Odyssey: "The feast of suitors in the house of Odysseus." B. S. Yakobi chose a bas-relief by sculptor D. Dernini with the image of the Great Martyr Catherine, brought by P. G. Demidov from Italy, as the second model for reproduction in metal.
B. S. Yakobi kept the first samples of galvanoplastic bas-reliefs as a memory of his invention. Copies of the bas-relief of F. P. Tolstoy are now kept in the Russian Museum, and one of the forms of the work of F. P. Tolstoy, who later mastered the technique of electroforming himself, is also kept there.
The invention and improvement of electroforming, which gained great popularity, attracted the attention of a significant circle of people, and soon electroplating found application in various fields of art and technology, in particular in printing and art printing.
On this occasion, the Minister of Finance, Ya. F. Kankrin, in a report addressed to the highest name, wrote: "The unexpectedly rapid development of electroforming and its diverse application in arts, factories and crafts made it necessary for ministries to organize the training of specialists in this branch of technology * ". One of the first educational institutions opened at the initiative of Kankrin was the galvanoplastic class at the drawing school for volunteers in St. Petersburg. The class was opened in 1840 by the Department of Manufactories and Internal Trade of the Ministry of Finance. The school was located in the building of the St. Petersburg customs. The teaching staff of the school consisted of a professor of modeling and molding, a teacher of electroforming, a technical assistant, a warden and a watchman **. The sculptor P. K. Klodt was invited to the post of professor at the school, who readily accepted the offer to teach at this educational institution ***.
* (TsGIAL, f. 560, op. 4, d. 1114, l. one)
*** (TsGIAL, f. 18, op. 2, d. 1906, l. 6)
The inventor of this new type of art himself actively helped the school - he sent his books and read a course on electroforming at the school *, which consisted of 12 lectures, "which corresponded to the practical exercises of the electroforming class and had a very useful effect on the audience." A total of 1,700 people attended the lectures**. The sculptor V. V. Gazenberg *** was invited by the school to conduct practical classes. At school, Gazenberg taught electroforming and technical arts. The sculptor V. V. Gazenberg was one of the pioneers of electroforming, who subsequently applied this method to three-dimensional sculpture. This was preceded by work that was carried out in the laboratory of M. Leuchtenberg, equipped by him in the Winter Palace.
* (TsGIAL, f. 18, op. 2, d. 1906, l. 12)
** (TsGIAL, f. 18, op. 2, d. 1906, l. 138)
*** (Archive of the Academy of Sciences of the USSR, f. 187, on. 1 and 425)
Work on obtaining a round sculpture was carried out in the laboratory from 1840 to 1841. B. S. Jacobi did not yet have experience in making round sculpture in molds. On this occasion, in the message of B. S. Jacobi to the Academy of Sciences of October 25, 1838, it is said: “As for the manufacture of whole statues, it seems to me that a highly improved technique is needed here, especially if they are small and complex in their configuration. statues of plaster, wax or lead with a layer of copper - this is of no value and is a kind of barbarism, which can only be tolerated for objects of secondary importance. But if whole statues could be made in this way, it would be such a step forward, on which I do not yet dare to count ... * "
* (Archive of the Academy of Sciences of the USSR, f. 1, op. 2, l. 612(1839))
In 1841, the experimental work was crowned with success, and on April 23, 1841, B. S. Jacobi presented to the Academy of Sciences a "life-size" bust of the King of Prussia, made of copper by electroforming by the sculptor V. V. Gazenberg. At the same time, B. S. Jacobi informed the Academy that this was the first experience of applying electroforming "to the production of round-convex figures in such significant sizes." B. S. Jacobi offered to reward the artist V. V. Gazenberg from his prize, which was awarded to him in 1840 *.
* ("Journal of the Ministry of Public Education", 1841, No. 9)
In 1842, B. S. Jacobi again demonstrated at the Academy of Sciences sculptural works made by the electroforming technique in the laboratory of M. Leuchtenberg. Among these works were the following: an equestrian statue of Napoleon I, a cupid (statuette), an equestrian statuette, a gilded bust of an old man, a statuette, a jug on a platter (original by Benvenuto Cellini) and other items of arts and crafts.
The solution of the problem of making a round sculpture by electroforming was a huge contribution to the technique of sculpture reproduction and played a huge role in decorative, monumental and easel sculpture in the first half of the 19th century.
Galvanoplastic sculpture of St. Isaac's Cathedral
One of the first galvanoplastic works performed under industrial conditions was the decorative decorations of St. Isaac's Cathedral. The general design of the external design of the cathedral was developed by its chief builder, architect O. Montferrand in 1825. He created several options until he settled on the final solution.
According to the architect's idea, decorative sculpture was supposed to emphasize the main architectural divisions and unite individual parts of the building: the cathedral was supposed to be decorated with bas-reliefs and statues on the pediments, bas-reliefs on three doors and niches behind the porticos, as well as statues on the attic and the balustrade of the main dome. Detailed sketches of these compositions were approved in 1839.
The design of the interior decoration of the cathedral was drawn up by O. Montferrand in the same year. The design of the external design of the cathedral and its interior decoration coincided with the development and improvement of electroforming as a method of reproduction of sculpture.
The decorative sculpture of St. Isaac's Cathedral, along with bronze, contains numerous samples of galvanoplastic sculpture, first made in the laboratory of M. Leuchtenberg, and then in the "Galvanoplastic enterprise" created by him.
Officially, in 1842, B. S. Jacobi was invited to perform the sculpture of St. Isaac's Cathedral using the electroforming method.
The first author who created a sculpture for St. Isaac's Cathedral in the technique of electroplating was the famous sculptor I.P. Vitali, invited by O. Montferrand from Moscow in 1841. The galvanoplastic sculpture of the cathedral was overwhelmingly made according to the model of this sculptor. In total, I. P. Vitali electroplated more than sixty monumental works for the cathedral.
Galvanoplastic sculpture by the workshop of I. Hamburger
An example of the semi-industrial production of sculpture using the electroforming technique in the middle of the 19th century is the work of the workshop of M. Hamburger, who created a significant amount of decorative sculpture using this technique.
I. Hamburger was well versed in the technique of electroforming. Having gone through school in the laboratory of B. S. Jacobi, in 1839-1841 he created his own workshop, where, not without success, a large three-dimensional sculpture was reproduced in metal. Then the workshop of I. Hamburger expanded, thanks to the support of the Academy of Arts, she managed to get a significant loan from the Ministry of Finance. This loan was issued to I. Hamburger in connection with his receipt of an order for the manufacture of some parts for the monument to Ivan Susanin and Tsar Mikhail Fedorovich in Kostroma*. The author of the monument was V. I. Demut-Malinovsky. Hamburger quickly mastered the peculiarities of production and at the dawn of electroforming was considered one of the best craftsmen in this field. "Hamburger. - We read in the "Library for Reading". - ... makes copper molds and prints not only from wax models, but also from wooden, paper and in general all kinds of which the substance is insoluble in water, not only from bas-reliefs , but also from round images. The other day he crowned his art by casting from copper dough in the same way, in addition to the large bust of A. N. Olenin, and the full round statue of Venus. All the features, all the beauty of the forms of the antique marble model are preserved in this metal cast with the precision and clarity that galvanism alone can achieve...**"
* (TsGIAL, f. 560, op. 5, 155)
** ("Library for Reading", 1839, IX, vol. XXVI, part II, sec. VII)
The works of I. Hamburger were noted more than once in the press of that time.
Samples of galvanoplastic sculpture, made in metal in the workshop of I. Hamburger, are widely and diversely presented in the Catherine Park in the city of Pushkin. The galvanoplastic sculpture is installed on the balustrade of the park terrace, on the alley of the park, near the pond.
This sculpture, made by electroforming technique over a hundred years ago, is in satisfactory condition. Almost all of it is made by a combined technique: galvanoplastic and copper-chased. Only some of the details, such as the hands of individual figures, are made of cast bronze (the cast parts were made during restoration). The size of the sculpture is one and a half to two times its natural size.
The entire sculpture is made with high precision galvanoplastic reproduction. The method of bronze casting, even on a wax model, which was widely used at that time, could not have achieved such results without additional chased work.
Modern galvanoplastic sculpture
The method of galvanoplastic reproduction of sculpture, which was widely used in the fine arts of the 19th century, fell out of use by the end of the century and was almost forgotten. Only in Soviet times, especially since the forties, did this technique again find its application in sculpture.
After studying and developing new technological methods, the galvanoplastic method was resumed by the Monumentskulptura plant and the laboratory of the Moscow Institute of Applied and Decorative Arts. He quickly attracted the attention of many Soviet sculptors with his exceptional fidelity in sculpture reproduction. Along with bronze casting, electroplating has acquired wide industrial significance and is currently used not only for decorative and easel portrait sculpture, but also for the creation of monumental monuments.
Comparing the sculpture reproduced by the technique of chasing and electroforming, V. I. Mukhina wrote: “The use of copper by the galvano method gives even finer and clearer forms (than a punch. - N. O.) and allows this method to be used in any size. This revived now the primordially Russian method of artistic metal processing is especially promising, since it combines the lightness and cheapness of sheet metal with the fidelity of form reproduction inherent in cast sculpture ... * "The advantage of this technique over casting lies also in the fact that it makes it possible to obtain lightweight sculpture with any wall thickness and thus reduces metal consumption, simplifies installation and eases the load on building structures. This is especially important for architecture.
* (Mukhina V. I. Artistic heritage. 1960, vol. II)
A number of works by prominent Soviet sculptors - M. G. Manizer, V. I. Mukhina, E. V. Vuchetich, N. V. Tomsky and others - have been reproduced using the electroforming technique. The most interesting examples of monumental and easel sculpture made using the electroforming method are the monument to V. I. Lenin in Leningrad by the sculptor N. V. Tomsky, the bust of Karl Marx by the sculptor N. G. Litovchenko and many others.
