john Paul Jones is one of the more recognizable heroes ofthe American Revolution, largely because ofthe portrait bust by Houdon on display at the US Naval Academy and the numerous portraits ofhim. This miniature portrait bust, one in a series I am creating at "dollhouse scale" (that is J "= 1 '),follows the general form of the Houdon portrait, showing Jones in a naval officer's uniform and wearing L'Ordre du Merite Militaire. It is always a challenge to show a cut-off figure, with only the upper torso and head, in an aesthetically pleasing manner. Here is where study of such masters ofsculpture as Bernini and Houdon is valuable. The actual carving is, ofcourse, the fun part, and details present stimulating technical challenges. For example, the braid on the epaulets requires carefal use ofspecial tools. The ultimate challenge, however, is the face. Old mens faces are easier than those ofyoung girls, because ofthe extremely subtle and delicate shapes which must be carefally carved in order to convey beauty. I can generally just hack away at an "old salt" and he will Look the better for it!
Greek mythology is intimately connected with the sea. One of the major personalities in the Greek pantheon was Poseidon, known Later to the Romans as Neptune. I have created my own interpretation ofthis mythical character drawing on the sculpture ofancient Greece, as well as the Renaissance, particularly the Neptune by Gianlorenzo Bernini. I designed the figure to be very active in feel. The pose is deliberately off balance, stretching far forward from the base. The body, drapery, and trident use rising diagonals to emphasize the sense of motion.
This miniature portrait bust ofAdmiral Lord Nelson is done to what is commonly called "dollhouse scale, "that is J "= 1 '. I am creating a whole collection of them, based on my interest in certain historical figures. Material to draw on for a Likeness ofNelson includes a life mask in the Royal Naval Museum and portraits by Abbott, Fuger, Singleton, Hoppner and Beechey; there are many portrait busts as well, but some ofthem are quite bad. I incorporated a dress uniform coat with the four orders sewn to the left breast combined with the tousled hair and rugged features seen in representations of him. My approach to carving a likeness involves removing layers of wood from all over the figure, gradually approaching the final surface and using profiles to capture the subtle shape ofthe head and face. I have to sneak up on it, rotating the figure and examining the constantly changing profile to gauge where I am in relation to the shape I want.
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SEA HISTORY 104, SPRING/SUMMER 2003