HOW A BRONZE IS MADE PAGE 3 "Flight of theTerns evolution of a work of art continued refining the thickness and character of the 'terns' beaks. He supervised the artisans in their work to avoid second-guessing, and for the third time that day we heard him explain the flow of the sculpture to the craftsmen who would do most of the finishing. "I feel it is not paramount in sculpture to reproduce detail," he remarked. "I look for movement, flow..." At last, Osmundsen was satisfied with the sculpture. A patinia was applied with tourch and chemicals, and the bronze took on a soft green shading. The coloring was subtle and it took several hours before everyone was pleased with the effect. The "Flight of the Terns" was ready for its journey home, where it would be on display during Osmundsen's one man show at Burrows Gallerye in Englewood, NJ | The show's opening was the usual crush of people, champagne, and flashbulbs. The admiring spectators touched and talked about the sculpture. "It's beautiful!" "I love the way he did the birds, so graceful." "It looks real, the spacing is perfect." We heard the words strength, movement, and form peppering countless conversations. Very few could guess at the months of work that preceeded the sculpture in bronze standing before them. Or the individual skill of scores of workers that had been vital to its creation, as had the far-sightedness and direction of its creator. Three months had passed since the "Flight of the Terns" was sketched on paper. Once an intangible idea, it now had three-dimensional form, balance and grace ... motion captured in bronze. Article Writer April Barth and Photographer Roger Barth are not related to William Barth Osmundsen. Back to previous page |