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Peter Forster

I am uncomfortable, with the expression "Classically Trained Sculptor".

rock solid foundations

The reason why stone must be a foundation in sculpture is due to its natural resistance. Stone demands a mastery that goes beyond academic studies of sculptural composition and technique. In direct carving, one must bravely make each cut, advancing with confidence. For the clay modeler, decisions are infinite, and there is no real advancement in technique until chisel is united with stone.

Classical Techniques Of Stone Carving

I am an artist skilled in classical techniques of stone carving, encompassing both the use of measurement devices and the art of direct carving. My journey began over 50 years ago, and while I pursued formal education at the Academy of Art in San Francisco, I quickly surpassed what their sculpture department had to offer. Since then, I have forged my own path as a classical sculptor, embracing timeless principles and techniques.

Early Influences

Early Influences

During the early years of my arts career, I had the privilege of working alongside Dr. Avard Fairbanks, who was not only a highly accomplished artist but also one of the last artists to attend the prestigious École nationale supérieure des Beaux-Arts in 1913. From 1970 to 1980, I had the opportunity to collaborate with Dr. Fairbanks on several significant projects that spanned both time and distance.

Fierce Independence

My art education has been an independent and self-directed approach to learning. As I progressed in my career, I continue to explore and develop understanding in materials and techniques.

a true classical approach to sculpture remains elusive

Few artists can truly boast of classical training until recently, with the rise of the modern Classical Atelier movement over the past 20 years. When I was starting out, there were no such offerings for young people seeking a classical education in art. Even today, a true classical approach to sculpture remains elusive. A classically trained sculptor would work with marble and granite, employing techniques of measurement devices and direct carving. Like Michelangelo, they would carve the stone solely by observation. This is the practice I have dedicated my lifetime to.

Peter Fortser Circa 1985

Working in Nordhammer "Oakland & Artwerks"Berkeley" Foundries, and Exhibiting at Maxwell Galleries Downtown San Francisco


Working as an Amanuenses and Exhibiting at Tivoli and Williams Fine Art Salt Lake City.


Shows Ballet West, Presidents Circle U of U, Gastronomy Group, Slaymaker corp, Clark Leeming designs


Embry Riddle Aeronautical University & Lake Highland Preparatory, Hudson River Galleries NY, American Bronze. 


Major works in Marble and Clay & Lake Highland Preparatory, Walt Disney, American Bronze


Present Day, focusing on sculpture and writing.

A corner of my studio Present

I have an extensive library of plaster casts.  I believe that a sculptor should maintain a library of works preserved in Plaster

Luto mold circa 1986

The lost art of Luto mold making, few in the United States are familiar with the antique process of mold making.

Portrait of Romano Salvatori circa 2009

My dear friend Romano Salvatori, benefactor for the arts. Headed the Westing house group at Three Mile Island
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