Heartland blacksmiths: conversations at the forge by Richard Reichelt M.F.A., Richard Wilbers
By Richard Reichelt M.F.A., Richard Wilbers
This number of interviews with blacksmiths, young and old, female and male, demanding situations preconceived notions approximately practitioners of this historic craft. one of the 9 operating smiths inside a 100-mile radius of St. Louis, Richard Reichelt reveals quite a lot of personalities, backgrounds, paintings created, and purposes for being a blacksmith.Consider simply 3 blacksmiths incorporated during this booklet. Les Ostendorf is a farm blacksmith who sees smithing as an important career; farmers depend upon him to fix their machinery.L. Brent Kington, Director of the varsity of paintings at Southern Illinois college, Carbondale, is understood all over the world for rekindling an curiosity in blacksmithing in past times decade and a part. Roberta Ann Elliott-Francis is usually confronted with disbelieving shoppers after they detect she is the author of the crafty metalwork she sells.Richard Wilbers and Richard Reichelt, in approximately seventy black and white photos, rfile every one smith’s paintings.
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Extra info for Heartland blacksmiths: conversations at the forge
That was good wages. And the horseshoers, the tall ones, I've seen where they'd go to the anvil to close a shoe or open it up and they couldn't straighten up. The only time they straightened up was when they quit work, and then it took them some time to straighten up. But, me, I can shoe a horse standing up behind it. Rick: What was it like to be a blacksmith before the days of the automobile? Rudy: Well, there was three blacksmith shops in Crocker. And this little town wasn't over seven or eight hundred population.
You can work forever on one piece if you want to. Still, we use some of the modern tools. We couldn't do it all by hand or people couldn't afford it. A lot of things I do I don't charge the people for, because I want to do it that way as a challenge or whatever. I just like the effect. But you have to cut some corners. Instead of fire welding every- thing, maybe you weld some things, like a big fence project, with the arc welder. Rick: You and I both know that it takes a lot of helpers to do things in the traditional way.
But I'm kind of stuck in my role. Rick: It's your expression. Darold: Yes. Don't get me wrong. I'm not saying this is the only way to do it. It all has a place, and there's some beautiful contemporary work out. I person- ally can't do it, though. I don't have that type of design feeling inside me. But we can't be stuck in one particular place and time. You have to bounce around a little to keep your mind alert. " I've done some art nouveau and some contemporary pieces. Every time you do a piece, you know you can do the next one better.