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The beauty of climbing roses leaves no one indifferent. A waterfall of flowers of the most diverse colors pleases the eye and invariably cheers up. Adult, developed, profusely flowering bushes look especially impressive. Since this is a perennial plant, an important step in caring for it is the construction of a shelter for wintering. Of course, before this, the rose must be properly prepared.

The need for shelter depends on the degree of winter hardiness of the culture. Experts distinguish among garden roses varieties that are more and less resistant to frost and temperature extremes. Climbing roses need shelter more than landscape and park roses.

An additional difficulty is that the adult bush of this variety has an impressive size. The genetic feature of climbing roses is that they cannot independently fall into a period of biological dormancy. Growth processes slow down only at sub-zero temperatures, but if there is at least a slight plus on the thermometer, the buds immediately wake up and the formation of new shoots begins, and sap flow is activated in the stems.

Later, when freezing, the juice breaks the fibers of the wood, which causes frost cracks (longitudinal cracks) to appear on the shoots. Young branches are especially affected by this. To protect plants from temperature extremes, shelter for the winter is used. You shouldn't be afraid of this. Covering events only at first glance seem complicated.

When to hide

Shelter periods must be correlated with weather conditions. Too soon, a covered rose will begin to rot under the insulation. This plant is quite capable of withstanding slight frosts. A light frost will even harden the rose. It is best to start building shelters when the average daily temperature is -6-7 degrees. In each climatic zone, such weather is established at its own time.

Before sheltering roses in the Moscow region, they must be properly prepared and kept from excess moisture if the autumn turned out to be rainy. To do this, you can build a canopy over the bush. Also make grooves to remove excess moisture. Shelter is recommended to be made in dry clear weather.

If the frosts are only at night, and the heat returns during the day, you should wait another week and only then cover the roses. In the Moscow region and the middle lane, this period coincides with the end of October or the beginning of November.

The first snow in the Urals may fall as early as the end of September. Sometimes this moment comes later for 2-3 weeks. The weather here often brings surprises, so it is difficult to give an exact date for the shelter of climbing roses in the Ural region. It should also take into account the large extent of this region. The weather in the north and south of the Urals can vary significantly.

On average, we can say that the shelter period falls on the first half of October. Do not cover roses at positive temperatures, do it later. In the Urals, it is best to arrange a frame shelter for the bushes while maintaining the air gap. It will prevent both freezing and rotting of the shoots.

Winter in Siberia is so severe that it is impossible to grow roses here without shelter. Frosts come here after the end of a short summer. Due to the long winter, roses can sprout under cover, so it is also recommended to arrange a frame structure for them here.

Heavy snowfalls during the wintering of roses will serve well, covering it with snow, like a warm blanket. Before creating a shelter, the bush must be high with dry earth. It is undesirable to use organic matter for this, since it also contributes to the decay of shoots. Immediately after the snow falls, throw it on the covered rose, creating a higher snowdrift.

The weather in the Leningrad region is very unstable due to the constant influence of a variety of air masses. Here, dry and cold Arctic air and wet cyclones from the sea coast replace each other. Frosts in this area occur even in summer, and in winter there are bitter frosts, followed by thaws.

The region is difficult for weather forecasting, often daily temperature fluctuations can reach an amplitude of 20 degrees. Due to high humidity, roses cannot be covered too early in the Leningrad Region. It is best to do this at the very end of October or early November.

Shelter preparation

In order for them to have time to recover after flowering and get stronger enough on the eve of a long winter. Indeed, even in the middle lane in a sheltered state, they will have to spend a little less than six months. Autumn care for climbing roses includes standard activities that are also carried out for other perennials. The plant must be properly fed, if necessary, cut, treated for fungal diseases and pests.

Top dressing at this time of the year should include such important elements as potassium and phosphorus, but nitrogen should be excluded. Phosphorus-potassium fertilizers will contribute to the rapid maturation of shoots, the strengthening and growth of the root system, increased immunity, and the laying of flower buds. When fertilizing in the fall, certain rules are followed:

• Nitrogen fertilizers are not used because this element causes the growth of green mass, which is completely inappropriate in the autumn season.
• You can fertilize a climbing rose under the root and spraying foliage with a nutrient composition.
• It is recommended to purchase special autumn fertilizers for flowering plants or use potassium monophosphate.
• Minerals are sold in granules or as a liquid solution. Granular dressing is applied if the autumn is rainy. Fertilizer in the form of a solution is used in dry weather 2-3 hours after watering.
• The last top dressing is carried out 2-3 weeks after pruning, when the plant fully recovers.
• Before the frosts, you can put rotted manure or wood ash under the bush. These substances in the spring will penetrate to the roots along with melt water and give the rose an impetus for active growth.

On a note! If winters are warm in your area, half-rotted compost can be placed at the base of the bush instead of a mulch layer. In winter, the fertilizer will continue to rot and will warm the roots of the plant while supplying it with nutrition.

Before sheltering climbing roses, they must be treated for pests and diseases. Under the insulation, pathogenic microorganisms can successfully overwinter, and in the spring they will begin to actively multiply and damage the plant. Spraying is carried out after autumn pruning, immediately before hilling and shelter.

• Universal disinfectants are Bordeaux liquid and a solution of ferrous sulfate.
• To give roses additional protection against fungal diseases, drugs such as Fundazol, Topaz, Ridomil gold, Skor can. They must be used in accordance with the instructions.

If any of the fungicides were applied in the spring, it should be replaced with a drug with a different name. Pathogens often develop resistance to chemicals.

Important! It is wrong to use biofungicides in autumn. Their action is based on the activity of beneficial bacteria, which need a warm environment for active reproduction. At temperatures close to zero, such funds will be simply useless.

The shoots of climbing roses are creeping and can reach a length of 15 m. There are two varieties of this group - ramblers and climbers. In ramblers, small double flowers are collected in brushes located on the shoot along its entire length. By crossing this variety with other varieties, climbers with larger flowers and increased winter hardiness were obtained. Pruning climbing roses performs several tasks at once:

• rejuvenation by getting rid of old shoots;
• thinning roses for uniform lighting and air access;
• the formation of a bush in order to increase decorativeness;
• strengthening the root system;
• laying more buds;
• more rational consumption of nutrients;
• strengthening immunity;
• achieving ease of shelter;
• obtaining cuttings for propagation.

Pruning is carried out with a sharpened tool, which should be disinfected before starting work. All cuts should be made at an acute angle over the kidney, pointing outward. Autumn pruning is carried out at a temperature of -3 degrees. If you perform the procedure in warm weather, the kidneys may start to grow, which is highly undesirable. The lashes are cut on a dry, clear day, starting with the removal of damaged, diseased and damp shoots.

In ramblers, branches older than two years of age are completely cut out, and young lashes are shortened to a well-developed bud. In this case, the active growth of young shoots with lateral growths will begin in the spring. In grafted specimens, from 3 to 6 shoots are left; in own-rooted specimens, the number of branches may be several times greater. The main pruning of the climbers is carried out in the spring, in the autumn the bush is only cleaned and the old shoots are shortened, leaving stumps up to 30 cm. 2-3 buds should remain on the side branches.

How to cover climbing roses for the winter

The method of sheltering a climbing rose is chosen depending on the method of cultivation, the age and condition of the plant. It is important not only to preserve the bush during severe frosts, but also to prevent its decay.

On the arch, without removing from the support

Climbing roses are often grown on arched structures of varying heights, forming a beautiful arrangement of shoots as they grow. It is not always convenient to remove a plant for wintering. Sometimes the branches are so intertwined with each other that it is impossible to unwind them without damage. In this case, roses cover directly on the arch.

Since the bush is mature and mature, it has a fairly high frost resistance. For its insulation, it is necessary to use 2-3 layers of non-woven material. It can be spunbond, lutrasil and high density agrofibre. The insulation is wrapped around the shoots right on the arch and tied with ropes. The advantage of non-woven fabric is that it has good breathability and the rose under it will not spray.

Vertical shelter of a rose is possible only in regions with mild winters. In the north, it is better to grow varieties with flexible shoots that are easy to lay on the ground for wintering. The vertical method of shelter is used if the stems are thick, hard and it is problematic to bend them to the ground. Before shelter, you need to remove fallen leaves from under the bush, which may contain fungi and harmful bacteria.

After that, the rose is wrapped together with the support with a non-woven material of increased density. You can use Agrospan, Agrotex, Lutrasil, Agril, AgroSUF. It is better to take white material with a thickness of 60 g per 1 sq. meter. The shelter provides protection from temperature extremes, accumulation of moisture inside, severe frost, ultraviolet radiation, the shoots under it are well aerated and do not rot.

Climbing Rose Shelter: Video

Flexible shoots of a young bush will be easy to remove from the support and lay on the ground. Between the soil and the branches, it is necessary to organize a layer of spruce branches of dry leaves of the boards, the main thing is that the lashes do not touch the ground. The shoots are tied into a bundle, bent down and fixed with pegs and twine, or with special hairpins.

After that, a frame shelter is constructed above the bush from metal arcs for a greenhouse or wooden bars, fitting them on top with non-woven material. The shelter should be 7-10 cm higher than the shoots. If possible, the frame can also be overlaid with spruce branches.

Rose lovers sometimes specially grow large bushes, cutting the shoots to a minimum in order to get a beautiful waterfall of flowers. Such a plant looks bewitching, but it is more difficult to cover it than compact climbing roses. Before covering the bush, untie the shoots from the support in advance so that they bend down under their own weight. After a few days, remove the oldest shoots in parts. Be careful, the pricks of the thorns are very noticeable. After that, the branches are recommended to be tied together, but not tight.

It is better to cover a large rose together. One person bends down the whips by placing a board on top of them and holding it perpendicular to the branches. The second should immediately fix the shoots with arcs near the ground. At the last stage, the arcs are covered with a spanbond, which is fixed near the ground with bricks. So that powerful shoots do not straighten up and tear out the frame, at first 1-2 boards should be kept on top of the shelter. You can remove the weight in 1-2 weeks.

How to cover climbing roses: video

Beginners are sometimes lost when arranging wintering for climbing roses for the first time. It may happen that you have bought a plot that already has a chic large plant dotted with flowers, or several climbing roses are planted in a row. Experienced summer residents willingly share their secrets for building a shelter for the queen of the garden:

• For bushes planted in one line, a shelter is built in the form of a house of wooden shields 80 cm wide. Below, under the shoots, there should be a spruce pillow or 2-3 layers of non-woven material to separate the rose branches from the soil. From above, the shields are covered with roofing material or a film to protect against moisture.
• Do not make the insulation immediately deaf in those areas where the weather can surprise in the form of thaws. If you have a frame shelter in the form of a tunnel, leave the ends uncovered until the onset of permanent frosts in November, and only then close completely until spring.
• When fixing shoots of roses on a support in spring, arrange them in a spiral. The fact is that with a horizontal arrangement of branches, more flower buds are formed.

Caring for a climbing rose is not easy, it always brings some difficulties, but the result is worth it. The plant will surely thank with a cascade of chic inflorescences. With the correct wintering of the bush, a waterfall of flowers will await you annually.

Those who want to transform their site by creating some kind of landscape design should pay attention to climbing roses. They are beautiful and easy to take care of.

It is better to cover them for the winter so that the bushes do not freeze in cold weather. Flowers have been prepared for shelter since September 11, and if early frosts are expected in the region where the owner lives, then even earlier. They have been removing shelter, for example, in the Moscow region, since April 20.

Breeders have bred different varieties of roses and many of them are frost-resistant. It's hard to believe, but some roses can withstand temperatures as low as -30°C.

Not for all varieties of roses, the owners make frame shelters. It is important to properly care for the plant in the summer and autumn. The owner can mulch the soil around the bush. Spruce branches or sawdust are suitable for this, you can take hay or straw and even fallen leaves, simple soil or peat with sand.

Small shoots on the branches are cut off. If the variety is hybrid, then it is more likely that it will delight with flowers until frost. Such varieties have no rest, even in the cold, their leaves turn green in places and buds are tied.

In roses, juice can freeze at only -2 ° C, and if it is colder, then even more so. The ice expands the tree and the vines crack. Such cracks threaten young branches more than old ones.

Some cracked branches are attacked by insects, bacteria develop in the cracks and they rot. On other branches, juice first oozes through the cracks, then it dries up, the wounds heal and only scars are visible in those places.

The best thing an owner can do to protect a rose bush in winter is to put a cover over it. It will protect the plant from excess moisture. The rose bush tolerates winter best when it is dry. And the temperature under the plastic film will be less than outside. Of course, you need to leave the air vents.

More often than not, rose bushes die from improper care than from severe frosts. After all, each owner understands in which climatic zone he lives and acquires a frost-resistant variety.

Preparatory work

So, prepare rose bushes for the winter period:

• Since the end of August, fertilizers have been applied under the rose. Nitrogen last time, and potash will continue to add little by little. They help strengthen the branches and trunk.
• The soil is still loosened in September, but then they stop fluffing. If this is not done, then the kidneys will wake up and throw out new shoots. They are not needed for the winter, such processes are cut off.
• Ordinary roses are pruned heavily, and climbing roses only enough to fit the vines into the shelter.
• Under the bush for the winter do not need to leave fallen leaves. Under the influence of moisture, fungi can form under them.
• The treatment of the bush with copper sulphate (3%) is required.
• Roses are processed and spudded. A shovel deepens 15 cm into the ground. The aeration of the root system is increased. In the loosened soil there will be a layer of air and in winter it will create a pillow, insulating the roots, they will not be damaged by frost.

Different types of shelters

Popular air-dry shelter. Gardeners who are interested in roses know about it.

Consider this way:

• They make shields. They are like a gable roof and are 90 cm wide. The roof is most often wooden. The main thing is that the vine does not touch the ground or the shelter itself.

• They cut spruce branches and cover the root system with them. He keeps her warm. Lapnik is a good material, the ground under it will not rot, and mice do not like thorns and will not build nests under a rose.

• Install shields from the beginning of October. If during the day it is -3 ° C outside, then let the ends remain open. The rose will still withstand temperatures down to -6 ° C, but no more. And at night it can be -10 ° C - this bush normally tolerates.
• At lower temperatures, the shelter is clogged with boards from the ends, covered with plastic wrap. The boards upholstered with a film will last longer and water will not leak inside.

"Important! In the warm winter period, the ends open again. If this is not done, the roses will rot and die."

The video shows how to properly cover weaving roses for the winter:

There are other ways that gardeners use:

1. Not everyone can build a gable roof, then they make a frame and cover it with moisture-resistant material or a dense plastic film. Fiberglass has proven itself well, but some also pull on good burlap. According to observations, dutrasil will let water through. If the shelter is made of film, then it must be opened even in cold weather to ventilate. Otherwise, the roses will begin to rot and may die.
2. When the bush is old, the branches growing from below become stiff and cannot be bent to the ground itself and covered there. This means that they are wrapped with spruce branches, and the roots below are mulched, for example, with tyrsa, shavings. These materials will help the plant keep warm in winter.
3. If the rose bushes are young, blooming for the first time this year, then when the frost sets in -5 ° C, the vines are cut by 40 cm and covered with some kind of insulating material. Wooden roofs over such young bushes are most often not done.
4. The roots of old bushes, and even young ones, can be overlaid, for example, with shavings. Large bushes take 3 buckets each. And so that the wind does not blow them away, they put spruce branches on top or make a fence of boards around.
5. Experienced gardeners know that the roots of roses can be insulated by pouring more soil around, and preferably peat. So that the earth or peat does not cake, sand is added to them. Then the roots of the plant, the branches will definitely not mate. Some gardeners simply throw a large layer of earth around the roses and claim that they winter well. Maybe, but the earth perfectly passes water, no matter how the roots begin to rot.

Beginners who have just planted roses in their area are very worried about the arrival of autumn. They have heard that roses need to be covered for the winter, but they don’t know exactly how to do it right.

From the material presented above, it is clear that it is quite simple and any man can handle the construction of a frame, a gable roof. Surround the plants with spruce branches, sprinkle with shavings or throw peat with sand around the roots, and a woman or teenager can do it.

How to remove shelter in the spring?

Beginners are concerned about the question, but when in the spring to completely remove and remove the shelter? You need to focus on the weather in the area where the gardener lives. It is even more important to watch the buds of roses. When they become 3 or 4 cm, then it's time to give up shelter.

If you open the plant too early, then the bush may get burned, since the root system has not yet begun to actively function after the winter calm state.

Those who live in the Moscow region have been removing shelter from roses since about April 20th. These timelines vary.

"Advice! The gardener must look at the Internet weather forecast for 10 days. If frosts are not predicted, then the shelter can be removed, otherwise you need to wait until they pass.

After the shelter is removed, if the roses were lying, they are not immediately raised. They may break. Let them stay like this for 2 days, and only then they can be carefully lifted above the ground, fixed on supports and actively taken care of.

Now even beginners understand when and how to cover old or young rose bushes for the winter. The main thing is to do it on time so that the branches and roots do not get frostbite, do not crack. And then in the spring the gardener dismantles the shelter, fertilizes the roses and soon they will bloom, delighting the owners.

If you are engaged in modeling from plasticine and clay, then you are well aware of the dignity of these materials: they have high plasticity. But at the same time, they have their drawbacks: finished clay works are very fragile and are afraid of moisture, and plasticine figurines cannot be stored in a warm room - they become so soft from heat that they often lose their original shape. Therefore, very often successful work is doomed to inevitable death. Is it possible to avoid these shortcomings and keep the most successful of your work!

It turns out you can. To do this, you need to make castings from gypsum. And at the same time, remember that stucco work with many small details that are poorly connected with the main form is difficult to mold and cast.
For molding and casting, molding or building gypsum is used. It is kneaded with a whorl in a wooden or enameled dish - gypsum - or, even better, in a bowl made of elastic plastic or thick rubber. For example, the simplest gypsum plaster can be made from the hemisphere of an old rubber ball, if it is strengthened on a wire frame. It is very convenient to remove the remnants of dried gypsum from elastic gypsum plaster: just press on the walls of the gypsum plaster, and the gypsum will easily fall behind.
A good solution can be obtained by mixing seven parts by weight of water with ten parts of gypsum. When mixing the solution, pour the gypsum into the water, and not vice versa. Use the prepared solution immediately. Remember that a freshly prepared solution retains the fluidity necessary for work only for 2.5 minutes. After 7-8 minutes, it already loses plasticity, and after 15-20 minutes it hardens completely. The process of hardening of gypsum is irreversible, so do not try to dilute thickened gypsum with water. Mixed with warm water, it hardens even faster.
The quality of the plaster you. you can define it like this: pour some gypsum mortar on the glass. When the gypsum has hardened, separate it from the glass and draw an even scratch on the smooth side with the tip of a knife. And then try to break a piece of gypsum into two parts. Good quality plaster will break exactly along the intended line. A bad one will usually crumble.
Before starting molding, the model must be specially processed. If the model is to be molded from eglin or plasticine, then cover it with one layer of shellac varnish. After the varnish has dried, apply a thin layer of drying oil and let it dry. Moisten the clay model before molding with clean water from a spray bottle until a matte sheen appears.
Depending on the complexity of the sculpture, the form is made of two or more detachable parts, the so-called shells. From works made of clay and plasticine, it is possible to remove only a rough form, which is suitable for the manufacture of only one casting, since the rough form breaks when the casting is released.
The figures show the sequence of molding and casting of a simple model, the shape of which consists of two shells. To form a model of this complexity, mark with a stack a line dividing it into two equal parts (1) . Carefully insert demarcation plates of thin but sufficiently rigid foil or plexiglass along the line, deepening them into the clay by about 2 mm (2) . Each subsequent plate should slightly (by 1-1.5 mm) find on the other.
Having prepared the model in this way, dissolve a small amount of gypsum by tinting it with some dry paint (5 g of paint per 1 liter of water). Apply the tinted solution to one half of the model, evenly splashing it with a metal spatula until a plaster layer 3-5 mm thick is obtained. (3) .After applying the first layer, immediately make a solution of untinted gypsum and splash the model with it until a layer of 15-20 mm thick is obtained. (4) . For large models, this layer is made much thicker. In all cases, near the delimiting plates, the plaster layer must be made thicker. After the plaster has hardened, carefully remove the demarcation plates. On the end surface of the shell formed by the plates, make three or four conical recesses (5) .Then lubricate the ends and recesses with paraffin grease. To prepare it, melt 100 g of paraffin and mix it with 70 g of kerosene and 70 g of garlic, linseed or sunflower oil. On the second half, apply a layer of gypsum in the same way as on the first. Initially colorless layer (6) . After the gypsum has hardened, use a knife or a stack to separate the shells. If the shells do not separate well, pour some water into the gap between them. After removing large pieces of clay with a stack of sinks, rinse with clean water with a brush until the clay coating disappears. (7) .Let them dry slightly, then smear their inner surfaces with paraffin grease and connect them so that the protrusions on the ends of one shell fit into the recesses on the ends of the other. Tie the connected shells tightly with a rope. The mold is now ready for casting.
Dilute the solution in plaster and pour it with a ladle into an inverted form (8) about one third of the volume. Take the form in your hands and begin to tilt it in different directions, while making rotational movements. Make sure that the liquid gypsum evenly coats all internal surfaces. Gradually turning the form over, carefully pour the solution that has not adhered to its walls back into the plaster. Then pour the same amount of solution again and pour over the inner surfaces of the mold again. This should be done until a sufficient wall thickness of the casting is obtained. The wall thickness will depend on the size of the cast model. If the casting is made from a small model, then after the first rolling, the mold is filled to the top with plaster. After 15-20 minutes, when the gypsum has completely hardened, you must immediately begin breaking down the draft form. Untie the ropes and, using a chisel and a hammer, carefully start chipping off small pieces of the mold. (9) . When chipping off unpainted plaster, work more boldly. When you reach the tinted bottom layer adjacent to the casting - the signal layer - be more careful. This layer warns that the surface of the casting is close. After the casting is completely freed from the draft form, clean the seams at the junction of the shells with sandpaper.
If desired, you can subject the finished casting to further processing - the so-called patination. Patination is necessary to increase the moisture resistance and strength of gypsum, as well as to imitate it under other, more valuable materials. To increase water resistance and strength, impregnate the casting with a 3-5% solution of calcium chloride. Dry it for 5 minutes and dip it in soapy water. Dry the casting treated in this way at room temperature.
Good results are obtained by processing gypsum castings with copper sulphate. To do this, immerse the product in a 10% solution of copper sulfate for 15 lengths, then dry it for ten minutes and dip it into this solution again. Do this three or four times.
If you want your figurine to acquire higher strength and moisture resistance, then treat it with drying oil and shellac varnish. Heat the casting in a drying cabinet or oven and use a bristle brush to apply layers of warm drying oil on it. After the first layer of drying oil is completely absorbed, apply a second layer. When the gypsum stops absorbing drying oil, stop the impregnation and dry the casting for three to four days. Cover the dried casting with two or three layers of shellac varnish.
To simulate cast iron, mix three oil paints: white, black and ocher. You will get a dark gray color. Dilute the paint with a desiccant and apply with a brush to the casting. When the paint is dry, rub the casting with graphite powder, adding dry ultramarine, ocher and whitewash to it.

1 - knife for separating mold shells;
2, 5 - stacks for removing clay from the mold;
3 - chisel for breaking the mold;
4 - metal spatula for applying liquid plaster to the model;
6 - rules for leveling the end surfaces of shells;
7 - whorls for stirring the gypsum mortar.

If you decide to imitate a bronze casting, then first paint it with oil paints. Try to make the coloring to some extent convey the color shades of the old bronze. To do this, add greens somewhere, ocher or mars brown somewhere. When the paint is dry, dissolve the melted wax or paraffin in turpentine and apply it in a thin layer to the surface of the casting. Let the wax dry slightly and dust it with bronze powder. After about an hour, rub the casting with a dry cloth until a characteristic metallic sheen appears.
Ivory casting is imitated as follows. Dissolve 20 g of white soap in 500 g of milk. Apply a thin layer of the composition to the gypsum. When it dries, cover the casting with a layer of oil varnish and let it stand for a day. Then take a rag swab, squeeze a little yellow oil paint from the tube onto it and wipe the casting. If the surface of the plaster becomes too shiny, lightly wipe it with a dry cloth with talcum powder.
Gypsum casting can be painted in various colors with starch dyes. After brewing starch glue, add dry paint to it and mix thoroughly. Apply dyes to the surface of gypsum with a soft brush in a uniform thin layer.

G. Fedotov

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The art of bronze artistic casting originates in ancient times.

There is evidence that around 92 centuries BC, primitive people already used copper found in native form.
But in order to obtain castings, a person had to learn how to melt metal. It took him another 47 centuries to do this ...

The masters of ancient Hellas and Etruria achieved the highest results in the art of bronze casting.

ancient bronze casting

The heyday of Hellas and Etruria falls on the Late Bronze Age.

Greek cast works of art have been considered unattainable examples of perfection and an example for imitation for centuries.
Sculpture occupied a special place in the life of the Hellenes. Bronze and marble statues were an integral part of not only temples, squares, city streets, but also gardens and houses of wealthy citizens of Hellas.

Etruria also made a huge contribution to the development of artistic casting. In the art of metalworking, her masters were unparalleled in the central Mediterranean. Metal products were their main export. Many works of foundry art have been preserved, about which they rightfully said: "Full of joy, look at our deeds ...".

The museums of Italy and other neighboring countries are still replenished with the wonders of the foundry art of the great masters of antiquity. At the end of the twentieth century, during one of the excavations, a cast, absolutely intact bronze chariot was discovered - the creation of the hands of Etruscan masters.

Modern Art Casting Art

Works of art become the most in demand after cardinal upheavals in the state and society.
When the cannons stop roaring, people begin to listen to the voices of the muses. This is what we are currently seeing in our country. Right now, the ancient, but always so young art of artistic casting is again entering the streets and squares of Russian cities.

This art comes to the gardens and homes of those who want to always be close to the Beautiful: whether it is an original sculpture in the garden, decorative flowerpots for plants or a private collection of bronze sculptures in the house.

However, in order for the sculpture to finally take place and take its place in a park, garden or house, it must be transferred from a soft material (clay or plasticine) through a transitional material (gypsum) into a hard material - metal, marble, granite.
For a sculptor who has sculpted a work in soft material but is unable to translate it into hard material, this means that his work has no future...

Only a professional translation of a sculpture into solid material gives it a start in life. And only high-precision artistic casting can do this with the least loss to the original!

Artistic bronze of Togliatti masters

In the city of Togliatti there is a private workshop of artistic casting and sculpture.
Its masters not only master all the methods of the ancient art of casting, but have developed their own new, completely unique methods. This allows them to cast works of any complexity and any size, with uniquely thin casting walls - from 1.5 mm(for comparison: the wall thickness of the casting in the workshop of the famous Moscow caster of the last century V.V. Lukyanov - from 2.5 mm).

The workshop has been operating in Tolyatti since 1982. During this time, a large number of sculptures for the city, region and other regions of Russia have been converted into metal.

The unique casting methods developed in our Workshop are not used at any Russian plant. These developments make it possible to cast a sculpture many times cheaper and faster.

All sculptures cast in the workshop are so identical to the original that the author no longer needs to work through his work after casting.
This achievement of our craftsmen became possible thanks to the experience gained over the years - special molding methods and the author's thin-walled casting method (from 1.5 mm) developed in the Workshop.

Translating a sculpture into a solid material requires knowledge of various metalworking techniques. All of them are successfully applied in our Workshop.

For example, when creating a 6-meter monument to those who died in the Great Patriotic War (author Golovnin A.S.) for the Samarsky state farm, the techniques of punching in aluminum and casting especially complex parts of the sculpture in aluminum were used.

The monument to the Afghan soldiers "Farewell" in the village of Koshki, Samara region (author Fomin V.A.) is made in the technique of punching in copper.

The gallery of portrait bas-reliefs to the heroes of the Great Patriotic War in the city of Sergievsk is made using the electroforming technique.

The use of such a wide range of techniques for working with metal makes it possible to convert both easel and monumental sculptures of varying degrees of complexity and any size into solid material.

Samples of work from our workshop

The monument to Pushkin at the Drama Theater in Samara (designed by I. B. Fedorov, sculptor and foundry worker V. A. Fomin) is a vivid example of the work of the Togliatti Art Casting Workshop.
The history of the creation of this monument is amazing and tragic.

None of the factories of the huge industrial city could cast this work. At one of the enterprises, it was completely ruined, which tragically affected the fate of the author of the project.

Only thanks to the sculptor-caster of our workshop, masterfully mastering all the subtleties of casting, the ruined monument to Pushkin was recreated and cast with dignity. And for more than 20 years, this monument has been welcoming Samara residents who came to the theater or simply relax in the theater square.

Works of recent years, made by the Workshop of Sculpture and Art Casting, are monuments in Tolyatti:
- “Victims of Stalinist repressions” (project by Burmistenko, sculptor Pronyushkin, see title photo);
- to the first director of AVTOVAZ Polyakov (authors Golovnin, see photo on the left);
- monuments to Semizorov, Komzin (author Vasilik);
- a monument to Karl Marx restored after a barbaric theft and vandalism.

For the millennium of Kazan (Tatarstan), our Workshop cast in bronze a sculpture of three saints - Gury, Barsanuphius and Herman (authors Kuklev). The performance of this work belongs to the casting of the highest category of complexity.
The total height of the monument is 5 m, the height of the figures of saints is 2.8 m. The thickness of the casting walls is 3-5 mm.

Particularly complex elements - the openwork of the top, the openwork of the icon, a very complex pattern of the clothes of saints, required the use of many years of experience and the entire arsenal of foundry knowledge. Thanks to the art of our masters, the casting of the work turned out the first time - clean, of a given thickness.

In just 15 days, our craftsmen cast an equally complex sculptural work - a female figure with seagulls (authors Kuklev) for the summit EU-Russia, held in the sanatorium "Volzhsky Utes" of the Samara region in 2007.
It was the new casting methods that made it possible to reduce the production time and cost of this sculpture to record low values.

Work on a new sculpture is always associated with a new interesting story. For example, the casting of a sculpture of a Togliatti dog, which the whole country learned about thanks to the first channel of Russian television.

"Monument to the faithful dog" has an unusual history.

In every city, happy newlyweds, after registering their marriage, lay flowers at memorable places in the city. Usually these are monuments to warriors, poets, honored figures of the city, etc.

But the city of Togliatti has become an exception to the generally accepted rules. And our workshop (together with Oleg Klyuev, a sculptor from Ulyanovsk) was involved in this exception thanks to the dog Verny, who became a legend not only in our city.

This shepherd lost its owner in a car accident. After that, for many years, in any weather, the dog sat on the side of the Southern Highway (connecting the Central and Avtozavodsky districts of Togliatti) and waited for its owner. The hearts of people passing by the shepherd clenched at the sight of this great loyalty of the animal to man.

They brought food to the dog, tried to take it home. But she remained to live on the sidelines, waiting for the owner.

And when the dog was gone, the townspeople decided to erect a monument to such amazing devotion.
The sculptor O. Klyuev was ordered to sculpt a sculpture of a shepherd dog. And our Workshop cast it in bronze. This is how this unusual bronze sculpture of a dog appeared.

The newlyweds lay flowers to the Faithful Dog, as a symbol of true Loyalty. Thus, they make an unspoken promise to be faithful in the same way as this devoted animal remained faithful to a friend until the end of his days.

On wedding days, the monument to the dog Faithful is buried in flowers. This brings bright smiles from people passing by.

This is the lesson of true Loyalty and Devotion that the dog taught to the man, for which the townspeople erected it on a Pedestal.

Our masters

The founder of the Art Casting and Sculpture Workshop, a skilled sculptor and caster V.A. Fomin devoted more than 30 years of his life to his work.
Viktor Alekseevich creates works of authorship and initiates young people into this skill, who study the art of mastering and improving artistic casting. After all, every Master dreams of passing the Work of his life into young, talented hands!

V.A. Fomin trained masters in all specialties of the unique foundry art, so our Workshop fulfills orders of any degree of complexity.

The young sculptor-caster Dmitry Vlasov boldly set about mastering the ancient, but always so young, art of casting. And the complex craft obeyed the young master.

Dmitry creates wonderful creative works that have been shown at city exhibitions, at a regional exhibition in Nizhny Novgorod, and at all-Russian exhibitions in Moscow. Some of the works of the young master were purchased by the art gallery of Togliatti (see the sculpture “Waiting” on the left) and acquired by private collectors.

Young sculptor Anastasia Vlasova is currently working on a series of interesting works on the theme of motherhood.
And these are some of her previous works: “Meeting in the Garden” (casting, bronze), in the center is a prize called “One Hundred Poods” (given by the mayor of the city to the winners of the pop song contest), and the sculpture “Bear”, which is in constant demand among members party "United Russia".

Stages of a long journey

The highest professionalism of the sculptor-caster V.A. Fomin characterizes an interesting case that occurred back in Soviet times.

... There is a series of busts in the local history museum of Togliatti, cast by the Master during the formation of our Workshop on Togliatti land (1982-1983).

In those distant years, the appearance of a tall, respectable Italian with an interpreter was completely unexpected. The Italian, having barely entered the gate of the Workshop, began to say something loudly with a characteristic southern temperament, emotionally gesticulating. We stood in complete bewilderment (It's all simple now. But then it was Soviet times, and the appearance of a foreign guest, accompanied by an interpreter, in a provincial art workshop was a very extraordinary event).

Finally the Italian fell silent. Listening to the translator, we finally began to understand what was the matter.

It turns out that, being in the Togliatti Museum of Local Lore, the Italian saw busts cast in bronze. As a true descendant of the ancient Etruscan casters, the Italian was struck by the excellent quality of the cast busts with thin casting walls of 2.5 mm (now our Workshop has reached a casting thickness of 1.5 mm).
The guest wanted to see the workshop where such a casting comes from, and to get acquainted with the Master who cast these busts.

Further, without a smile, it is impossible to remember!
Our Workshop, after moving to Togliatti, was still in its infancy. Under the foundry, an old shed, rickety from time to time, with large holes in the roof, was temporarily adapted.
When the Italian saw this "casting" of ours, he was speechless (in the full sense of these words)!
We, with difficulty restraining laughter, watched the reaction of the unexpected guest. The Italian, with his eyes wide open, looked - first at the shed, then at the Master - and was silent ...
Then he spoke. After his long and very emotional monologue, the translator told us only one phrase: “He claims that this cannot be!”.

The master asked: does the guest know the story about the Russian Left-hander who shod a flea? It turned out that he knew the story; remembering her, the Italian began to understand something ...

But then, at the table, he constantly repeated the same question: “How is it possible in a distant provincial city and in completely unthinkable conditions to create such the highest examples of foundry art?”
This is not clear to them, civilized Europeans. And for many Russian craftsmen it was (and sometimes still is) an ordinary everyday job, familiar working conditions.
In the history of our Workshop, this is one of the distant episodes that we always remember with an ironically kind smile...

... New time puts in front of the Art Casting and Sculpture Workshop
new tasks.
The rapid development of landscape art causes a huge demand for new landscape gardening sculpture. And this direction of our Workshop is successfully developing.

The good news is that all firms, cafes, shops and even factories are beginning to green and equip their territories. Decorative flowerpots, sculpture (including bronze) are ordered and installed.
When a person passing by sees a highly artistic sculptural work or an elegant decorative flowerpot with flowers blooming in it, the surrounding world acquires beauty and gives rise to a joyful perception. A person feels involvement in the world of art and closeness to nature, becoming more beautiful in soul, kinder, more civilized.
Such is the purpose of flowers and real foundry art - to positively influence the subconscious of a person!