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THE WOODCARVING GLOSSARY

 
 
 
 
 
 
 
 
  Bronze sculpture
 
  Bronze is ideal for casting art works; it flows into all crevices of a mold, thus perfectly reproducing every detail of the most delicately modeled sculpture. It is malleable beneath the graver’s tool and admirable for repoussé work. The Egyptians used bronze, cast and hammered, for utensils, armor, and statuary far in advance of the Bronze Age in Europe. The Greeks were unexcelled in bronze sculpture. The Romans took quantities of bronze statues from Greece and made thousands themselves. They employed bronze for doors and for furniture, utensils, and candelabra, of which some were recovered at Pompeii and Herculaneum.
 
 
 
  Cire perdue - Lost wax system
 
  Cire perdue [Fr.=lost wax], sculptural process of metal casting that may be used for hollow and solid casting. The sculptor makes a model in plaster or clay that is then coated with wax. This model is then covered with a perforated plaster or clay mold. When heated, the mold will –lose” the wax (hence the name of the method) as it runs out of the holes in the plaster. Molten lead is then poured into the space formerly occupied by the wax. After the work cools, the sculptor breaks the mold, removes the plaster core, and files or polishes the metal product. One can also make hollow sculptures by piece-casting, which, as its name suggests, involves the construction of a work in pieces rather than as a whole. The most important advantage of the lost-wax method is that it eases the casting of a sculpture with elaborate curves.
 
 
 
  Color
 
  Color is the effect produced on the eye and its associated nerves by light waves of different wavelength or frequency. Light transmitted from an object to the eye stimulates the different color cones of the retina, thus making possible perception of various colors in the object.
 
 
 
  Decorate
 
  To plan and execute the design, furnishings, and ornamentation of the interior of (a house, church, apartment, etc.), esp. by selecting colors, fabrics, and style of furniture, by making minor structural changes.
 
 
 
  Drawing
 
  Drawing is the art of the draftsman. In its broadest sense it includes every use of the delineated line and is thus basic to the arts of painting, architecture, sculpture, calligraphy, and geometry. The word drawing is commonly used to denote works in pen, pencil, crayon, chalk, charcoal, or similar media in which form rather than color is emphasized. For centuries drawings have been made either as preparatory studies or as finished works of art. Preparatory drawings sometimes reveal a vigor and spontaneity lacking in the completed work.
 
 
 
  Engraving
 
  Engraving, in its broadest sense is the art of cutting lines in metal, wood, or other material either for decoration or for reproduction through printing. In its narrowest sense, it is an intaglio printing process in which the lines are cut in a metal plate with a graver, or burin. Furrows are cleanly cut out, raising no burr, and then filled with ink which is transferred under high pressure to the printing surface of the press.
 
 
 
  Gilder
 
  The specialised artist who covers the woodcarvings with gold.
 
 
 
  Intarsia - wood inlaying
 
  Intarsia or tarsia is a proper a form of wood inlaying. The term is sometimes applied to inlays of other materials such as ivory and metal. It is differentiated from marquetry by the basic veneering process of the latter. The term intarsia is specifically applied to a type of inlaying probably developed in Siena, Italy, in the 13th cent. and derived from Middle Eastern inlays of ivory upon wood. This art was widely practiced in Italy from c.1400 to c.1600. The fashion for intarsia declined thereafter, although some works in this medium were still produced. Intarsia work was also practiced to a limited extent elsewhere in western Europe. Designs included pictorial scenes and conventionalized scrolls, arabesques, and geometric forms.
 
 
 
  Painter
 
  The artist who covers the woodcarving with paint.
 
 
 
  Painting
 
  Painting, direct application of pigment to a surface to produce by tones of color or of light and dark some representation or decorative arrangement of natural or imagined forms.
 
 
 
  Relief
 
  Relief, in sculpture, is a three-dimensional projection from a flat background. In alto-relievo, or high relief, the protrusion is great; basso-relievo, or bas-relief, protrudes only slightly; and mezzo-relievo is intermediate between the two. Ancient Egyptians and Etruscans also used cavo relievo, intaglio, or sunken relief, in which the design is incised deeper than the background. High relief, although also used in ancient times, reached its climax in the baroque period. Bas-relief is commonly employed on coins and on medals.
 
 
 
  Restoration
 
  Art conservation and restoration, the preservation of structurally sound works of art, the halting of processes that lead to the damage of works of art, and the repair of already damaged works of art.
 
 
 
  Sculptor - Woodcarver
 
  A person who practices the art of sculpting a material like wood.
 
 
 
  Sketch
 
  A rapidly executed kind of pictorial note-taking. The sketch is not usually intended as an autonomous work of art, although many have been considered masterpieces in their own right. Used extensively in the planning of large, complex projects, the sketch allows the artist to visualize quickly the bend of a knee or the sweep of an arm without having to experiment directly on the work itself.
 
 
 
  Tempera
 
  Tempera is a painting method in which finely ground pigment is mixed with a solidifying base such as albumen, fig sap, or thin glue. When used in mural painting it is also known as fresco secco (dry fresco) to distinguish it from the buon fresco (true fresco) applied to damp walls. The name distemper is given to the method when a glue base is involved. When used on wood panels, as it most frequently was for altarpieces and other easel pictures, it was applied on a gesso underpainting that was smooth, very white and brilliant. Tempera's particular advantage is that clear, pure colors are produced, which are not so subject to oxidation as are oils. However, tempera does not lend itself to the expression of nuances of color and atmosphere.
 
 
 
  The art of woodcarving
 
  Wood carving, as an art form, includes any kind of sculpture in wood, from the decorative bas-relief on small objects to life-size figures in the round, furniture, and architectural decorations.
The woods used vary greatly in hardness and grain. The most commonly employed woods include boxwood, pine, pear, walnut, willow, oak, and ebony. The tools are simple gouges, chisels, wooden mallets, and pointed instruments. Although they were universally one of the earliest art media, wood carvings have withstood poorly the vicissitudes of time and climate.
 
 
 
  Watercolor painting
 
  Watercolor painting, in its wider sense, refers to all pigments mixed with water rather than with oil and also to the paintings produced by this process; it includes fresco and tempera as well as aquarelle, the process now commonly meant by the generic term. Gouache and distemper are also watercolors, although they are prepared with a more gluey base than the other forms. Long before oil was used in the preparation of pigment, watercolor painting had achieved a high form of sophistication.
 
 
 
  Woodcarving
 
  1. the art or technique of carving objects by hand from wood or of carving decorations into wood.
2. something made or decorated in such a manner.
 
 
 
 

HOW DO YOU TRANSLATE WOODCARVING / WOODCARVINGS IN OTHER LANGUAGES?



 
 
 
  eng   -    Woodcarving / Woodcarvings
deu   -    Holzschnitzerei / Holzschnitzereien
ita     -    Scultura in Legno / Sculture in Legno
esp    -    Escultura de Madera / Esculturas de Madera
fra     -    Sculptures en Bois / Sculpture en Bois
pol     -    Rzezba / Rzezby
lit       -    medzio skulptura / medzio skulpturos

please write to us and help us to add some other languages! Thank you!
 
 
 

 

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QUALITY TRADEMARK OF THE WOODEN SCULPTURE

The trademark for wooden sculptures produced exclusively and entirely by hand.

In order to protect the sculptors of woodcarvings, which are exclusively produced by hand, the Chamber of Commerce of Bolzano has decided to certify the genuineness of this procedure. This certification is made in two successive stages: a trademark, duly registered, is attached to the object, and a certificate is issued declaring that it is entirely and exclusively hand-made.

The trademark, which must be claimed, consists of a metal disc, bearing the inscription “ENTIRELY HAND-CARVED”.
The application of the trademark is done by an expert chosen by the Chamber of Commerce of Bolzano. After the work has been completed and carefully examined, the expert issues the certificate, which is an official document of the Chamber of Commerce, numbered progressively and containing all the information necessary for the unmistakable identification of the woodcarving.

 

WHY

PRO

Quality:
Since its founding, the Art Studio has maintained a mission to preserve the beauty and vitality of the sculpted works.

Tradition und References:
Our long tradition has great value and is at the base of the work we still carry out: the past helps us to avoid mistakes. We are also sure that the given references give you trust.

Guarantee:
The Art Studio gives you a guarantee of 5 years in case of natural decay (examples: color damage or clefts in the material). We do not cover theft, fire, or mistreatment.

Flexibility:
The Art Studio has been working with hundreds of Churches in every part of the World. It wants to satisfy the special needs Churches can have. We don’t just offer you flexibility from us and our collaborators: we also offer you flexibility of payment. You can gladly buy on installments with 0% interest rate.

Professional Assistance:
All our collaborators have a professional diploma in addition to their years of experience. Additionally the Customer has the advantage to be assisted and advised in technical terminology in three languages: English, Italian and German.


CONTRA

Trust:
If you had more confidence in another studio or woodcarver, we can’t stop you: the trust in the Artist is one of the most important pieces in the Art mosaic.

Price:
Like the quality, the Price also has its explanations. Guaranteeing an incontestable quality and the use of first class material, our Price can in some cases overstep the competitor’s Price. If the competitors give you the same warranty and inspires you the same trust at a cheaper Price, we don’t want to oppose. Don’t forget that the Price reflects the value of the work, which increases year for year.

Syntony:
Don’t take us into consideration, if we weren’t able to be in syntony with your wishes or to satisfy your needs.

 

THE ART OF WOODCARVING IN VAL GARDENA

In the Dolomites, not far from the Brenner Pass in Northern Italy, lies the Gardena Valley. Its inhabitants are Ladin speakers, and, apart from the surpassing beauty of the surroundings and its unique regional and linguistic characteristics, this valley has a 300-year-old tradition in the art of woodcarving.
Because of the rough climate the soil of the valley yielded its inhabitants a scanty livelihood, and so, the for the most part numerous families saw themselves in need of other sources of support. Woodcarvers have been at work in the valley since the fifteenth century.
Forests surround the valley and its stone pines provide the carvers with their principal material. From scarcely inch-high figures to statues larger than life-size, all come easily to the practiced hand of the Gardena carver, whose heartfelt fervor and conviction bears witness to deep religious feeling.

Nowadays, sculptures which are entirely and exclusively hand-carved are classified, get the trademark for wooden sculptures produced exclusively and entirely by hand by the experts of the Chamber of Commerce of Bolzano (Italy), which guarantees the authenticity of the creations.
This trademark also informs customers about the authenticity of the work and about the difference between unique creations and industrial wooden figures, which are mass-produced on a pantograph milling machine.

 

THE WOODCARVING GLOSSARY

THE CREATION OF A WOODCARVING

 

CUSTOM MADE (HAND-MADE) VS. PRODUCED ON PANTOGRAPH

Recognize the difference between unique creations and products from the pantograph

To see the difference doesn’t seem to be too hard– but in fact it is. Nowadays, through advanced technology, it is hard for people who don’t know the first thing about it. It is difficult to judge if a sculpture is entirely hand-carved (so it is unique) or produced on a pantograph milling machine (there are plenty of identical ones).
Firms or shops should always give their customers advice on how a sculpture is carved. Dear Customer, always remember to ascertain the origin of the woodcarving; e.g. the used method (hand or machine) and ask for the certificate in case you bought a sculpture exclusively carved by hand.

Ours is a creation, not a production of woodcarvings.

 

INTERNATIONAL STUFLESSER REFERENCES
We hope that this list of references can additionally raise the trust in us. The Studio has realised several works, such as Altars, Statues and more also in:
Rome (Italy),
Bendigo (Australia),
Manizales (Colombia).
Dacca (India),
Drempt (Netherlands),
Jerusalem (Israel),
Istanbul (Turkey),
Kula-Maui (Hawaii),
Lodz (Poland)
Miami (United States of America),
Natal (South Africa),
Olomouc (Czech Republic),
Sarajevo (Bosnia-Herzegovina),
Teganfu (China),
Timisoara (Romania),
Vienna (Austria).

 

Church Size Statues and Altars

ALTARS CHURCH INTERIORS

Cribs / Nativity Scenes / Church Statues

Crucifixion Groups and Church Interiors

CHURCH STATUES

Stations of the Cross

ULTIMATE CHURCH INTERIORS

Lecterns / Ambos / Podiums

CHURCH RESTORATION AND RENOVATION WORKS

HISTORY AND TRADITION - The Stuflesser Family

BRONZE WORKS

FIRST QUALITY RAW MATERIALS

EXPOSITION DEPARTMENT - ARCHIVE

AWARDS - PriceS AND HONOURINGS

CARDINAL ANGELO BAGNASCO'S VISIT

THE HOLY FATHER AND THE STUFLESSER ALTAR

CARDINAL TARCISIO BERTONE'S VISIT

BRONZE WORKS

THE EVOLUTION OF THE LOGO OF THE ART STUDIO

THE CREATION OF A WOODCARVING

THE WOODCARVING GLOSSARY

HOW CUSTOM STATUES AND ALTAR DESIGNS ARE CREATED

References

Main Page of Custom Statues

 


More Photos (click on photo to enlarge):

All work executed in studio workshops according to sketches and models prepared by studio is hand carved and protected by law internationally and in Italy. Imitations are thus precluded.

 

Contact - Mailing Address:

marianland.com
2951 Marina Bay Drive
Suite 130 - PMB 501
League City, Texas 77573-2733
USA

Phone: 281-538-7360 or 1-888-778-5442

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