use of plaster in history

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  • 7/30/2019 Use of Plaster in History

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    Nathalie Dagmang

    2010-24702 BFA Sculpture

    Use of Plaster in History

    Plaster today is widely used for casting and molding methods in sculpture. It can serve either as the final

    product or a disposable mold that can be used for cement, wax, etc. Frescoes are very rarely made at

    present, but in early history, it is the most widely used method of mural painting.

    Ancient hieroglyphics were usually painted on plaster surfaces. The interiors of the palaces and

    pyramids of Egyptian Pharaohs also had plaster surfaces. The plaster that they used was made of

    calcined gypsum (powdery gypsum), the same material that we use today for plasterwork . Even their

    method of plastering on reeds is also somewhat similar to the methods we use today when we plaster

    on lath/woodboard. It was also discovered that animal hair was used to strengthen the plaster.

    The Greeks somehow altered and improved the plaster recipe of the Egyptians and also used it to

    decorate the interiors and exteriors of their kings palaces. One of the mos t extensively decorated

    palaces is the Palace of Knossos, where frescoes decorated grand halls and rooms. They used the

    technique buon fresco, where mineral colors were applied broadly to wet or dry plaster, bordered with

    bands of geometric patterns. One example of the frescoes found within the palace is the Grandstand

    fresco.

    People from the middle ages continued using plaster for decoration. Like the Egyptians, they used

    animal hair as reinforcement and used malt, beer, and animal blood to help alter the setting time andplasticity of plaster.

    In the early renaissance plaster was still used to make frescoes. A technique in creating the fresco, The

    Expulsion of Adam and Eve from Paradise found in the Brancacci Chapel, used giomate. This particular

    painting used 32 giomate, with each giomate needed to be prepared and used within a single day.

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