John Balasa works on marbleizing columns at VMFA (Photo by Travis Fullerton, © Virginia Museum of Fine Arts)
Marbleizing, wood graining and other decorative finishes have been around since early civilization. Examples can be seen in great palaces, cathedrals, museums and government buildings.
My current project of eight columns will enhance the museum’s original 1936 structure, which will house VMFA’s collection of tapestries when it re-opens in May 2010. I am painting the columns in the Great Hall to imitate sienna marble, which is precious and limited in nature, quarried back to the Roman era. In addition, the 22-karat gold leafing on the column capitals will help to bring a more classical look to this gallery.
These are the most frequently asked questions about my work on the columns:
Q: What types of materials are used?
A: I use alkyd base paint, glaze and varnishes to execute the job from start to finish.
Q: Do you use sponges, feathers, etc?
A: I strictly use brushes of varying sizes and shapes in my work. Rarely, I will use a rubber eraser, depending on a specific technique.
Q: Are you looking at a specific marble when you are imitating marble?
A: I study natural marble for color, pattern density and deposits, and overall pattern of the type selected for imitation. Then, I lock the natural image in my brain, like a computer, and the imitation process begins.
Q: Are you layering colors?
A: I am working with different transparent colors at once, which is the alla prima technique. Alla prima is Italian for “at first,” and it’s sometimes defined as a “wet-on-wet” technique. The work is done in sections that require one sitting, and then I can move on to the next area. I cannot go back to an area after it is dry. I developed this technique and it works well for me.
I look forward to sharing the new columns when the museum re-opens. It is an honor to contribute my work for the enrichment of the museum and the enjoyment of its visitors.
John Balasa, VMFA Exhibition Production
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