This volume is the first book-length study of Leonardo da Vinci's Sforza Monument Horse, which was designed in the 1480s as a colossal bronze equestrian monument to Francisco Sforza, the duke of Milan, but never executed. At twenty-four feet in height, the Sforza Monument would have been the largest equestrian statue ever made.
Title: Study for an equestrian monument (recto) Creator: Leonardo da Vinci. Date Created: c.1485 – c.1490. Support: paper. Provenance: Bequeathed to Francesco Melzi; from whose heirs purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel, by 1630; Probably acquired by Charles II; Royal Collection by 1690.
Leonardo's horse. It was intended to be the largest equestrian statue in the world, a monument to the duke's father Francesco. Leonardo did extensive preparatory work for it, but produced only a clay model, which was destroyed by French soldiers when they invaded Milan in 1499, interrupting the project.
Da Vinci's Horse. After much travel and discussion with leading American and Italian Renaissance and Leonardo scholars, Dent got the affirmative responses he needed to go forward with his dream. In 1982, he founded the nonprofit, tax-exempt LDVHI to oversee and finance the production of the statue.
Leonardo Da Vinci's plan for the largest equestrian statue in the world was perfectly feasible. Fluid dynamics software has shown that the 24-foot-high horse would have been cast in a single pouring.
Leonardo da Vinci (Vinci 1452-Amboise 1519) Recto: A study for an equestrian monument. Verso: Studies of flowing water, a cross-bow, geometry, etc c.1485-88
Leonardo da Vinci’s vast talent, displayed in an array of formats, is again shown in the intricate details of Horse and Rider. Observed and executed in a way unfamiliar with the classical statue portrayals he would have been used to seeing, Horse and Rider reminds us of the diverse nature of da Vinci’s interests
Horse and Rider (Leonardo da Vinci) It was intended to be used as a model for a life-size sculpture, commissioned by Charles II d'Amboise, French Governor of Milan from 1503–1511. Charles II d'Amboise died in 1511, Leonardo died in 1519 and the monument to d'Amboise was never completed nor cast in bronze.
The Da Vinci Science Center (DSC), as it is known today, took shape in July 2003 with the merger of the Discovery Center of Science and Technology and Leonardo da Vinci’s Horse, Inc. (LDVHI) – the nonprofit organization that actualized Leonardo’s vision of placing a 24-foot bronze horse statue in Milan, Italy.
The horse will be unsigned, because it is meant to draw attention not to the artists, but to Italy, the Renaissance and Leonardo da Vinci, Mr. Kralik said. ''Charlie always said park your egos at …
Material: The material of the statue is then decided by the client. The sculptor may also use a small clay model to better portray his conception of the design. The clay model can be modified to fine tune the client’s wishes.
Mini-Sculpture: Finally, the bronze sculpture artist may finalize the miniature model of the final design in order to give the client a preview into how the final product will look. This model is made using the material decided, and it can be used by the client for marketing purposes so that he can raise funds for the sculpture.
Creating the Backbone: The backbone of the bronze statue, also called the armature consists of a steel frame with foam added to it in order to resemble the rough outline of the final product. This is then sealed with a latex coat to secure it.
The Sculpting: The main work starts only now. Many pounds of hot clay are used and applied by hand to “block in” the design for the first time. The bronze sculpture artist then invests a lot of time adding more clay, removing some clay and molding the clay until the final product finally resembles the required design. Tiny details are added on to give more preciseness to the bronze statue and make it more real.
Remove dust with a damp cloth.
Do not use metal objects or wire brushes to clean the sculpture.
Do not apply abrasives or cleansers that will possibly scratch the finish.
ZUD – Non- Abrasive Cleaner. Use to remove stubborn stains. Zud cleans all metal surfaces including bronze. Zud can be used in powder or liquid form.
Lemon Oil – Apply a small amount of oil with a paintbrush or soft cloth. Cover the entire figure with oil. Wipe the surface gently with a soft cloth to take off the excess oil.
Paste Wax- A very thin, even coat of wax should be applied with a soft cloth. Allow the wax to sit and dry before polishing. Wax should be applied after bronze has been cleaned and dried. Do not apply if using lemon oil.
Do Nothing: Many bronze owners prefer to sit back and enjoy the natural reaction and aging process of their sculpture.
What kind of sculpture is right for me?
We have a tremendous inventory of existing designs and unique items that we have been collecting for many years. After reviewing the website, Contact Us if you are unable to find what you are looking for.
Ancient Sculpture Gallery is proud to present you with lost wax bronze reproductions of statues and busts from the Egyptian, Greek, Hellenistic, Roman, Asian Oriental, and Western civilizations. “Lost Wax” bronze (or hot-cast bronze) is actually 100% pure Bronze – essentially copper and tin. The making of a “lost wax” bronze is a complex and time consuming process, and specific technical expertise is needed to accomplish the task of making a bronze. The most known and used process for making “lost wax” involves pouring of molten bronze. This is the same method used by the ancient civilizations to create bronze sculptures. Our lost wax bronze sculptures are produced in this same technique.