Capturing History in Wax: A
Journey Through Tussaud’s Waxworks
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| The Art of Wax – A brief journey through the history of Tussaud’s |
A
trip down memory lane to Blackpool’s Louis Tussaud’s waxworks, contrasting its
quirky charm with the hyperrealism of Madame Tussaud’s. A celebration of wax
art’s rich history and its enduring appeal.
The Old World of Wax…
An art form that dates back as
far as ancient Rome and Egypt, wax modelling had once been used to preserve
images of the dead prior to the invention of photography. Wax figures had also
been used in religion to create effigies of saints, it’s certainly an art form
with a dark past. Today, wax modelling is all about celebrity, popular culture
and the tourist pound so you’re more likely to see a YouTuber immortalized than
you are to see a politicians head on a stick.
Blackpool, The British Vegas…
Today, we’re diving into the
world of waxworks, specifically Madame Tussaud’s and its life-size dioramas
that look like they’ve been plucked straight from a movie set. Admittedly, it’s
been a while since I’ve visited a waxworks museum. The last time I ventured
into one was in Blackpool, a seaside resort on the Lancashire coast of England.
Back in the 1970s and 1980s when I last visited, it was a Louis Tussaud, a far
cry from the Madame Tussaud’s that has replaced it in more recent years.
For those of you who’ve never
been to Blackpool, imagine a British version of Las Vegas, but with a beach
lapped by the cold waves of the Irish Sea, hen parties, cheap beer, and a whole
lot of rain. You should definitely pack a raincoat, even in summer.
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| 504 feet up at the top of Blackpool Tower while standing on a glass floor! |
Blackpool’s also famous for
traditional fish and chips, Blackpool Tower, and the Pleasure Beach, a funfair
that has grown into a theme park that’s not at all like Disney World. It’s also
home to the Tower Ballroom, one of the finest examples of ballrooms in the
world. You can watch a live show in a Victorian theatre, or laugh at comedians
plying their stand-up routines at the end of the pier.
Blackpool gets a bad rap. It’s
one of the most socially deprived areas in the UK, yet on my recent trip, I had
a truly wonderful time. It was up there with some of the best short-breaks I’ve
ever had. I stayed in a hotel embedded within Blackpool Football Club, I
literally had breakfast on the terraces overlooking the pitch.
Having travelled to over 50
countries by cruise ship and plane, I must say that my few days in Blackpool
were magical. For me, Blackpool is nostalgia on steroids. I spent countless
childhood holidays there, and it hasn’t changed a bit since the 1970s. I mean,
literally not a bit.
Some people love Blackpool,
others seem to loathe it with a passion. It’s an acquired taste that is usually
shaped by listening to stories of cheap hotels where your feet stick to the
floor, there might be some of that, but it’s by no means all like that. To
truly understand Blackpool, you need to look beyond the surface, forget the
stereotypes and be open to surprise.
It’s a bold, brash place,
filled with the noise of arcade penny pushers, children having the best time ever and all of
this noise and chaos is set amidst the weekenders who have probably had a
little bit too much to drink. If this sounds like an horrendous vacation
experience, you also need to listen to the stories of everything Blackpool gets
right. The zoo, The Tower and Stanley Park are world class attractions and the annual Blackpool illuminations are a British tradition.
It’s loud, it’s certainly
eclectic, and maybe even overly eccentric, and so are many of its people. But
they’re also the salt of the earth – friendly, welcoming, and fiercely proud of
their town that genuinely never sleeps.
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| Unedited, the rainy outlook across the lights of Blackpool the the Irish Sea. 504 feet in the air, the best view ever. |
Blackpool is also a town of
internal economic migration. Brits flock here in search of riches, fame, and
the tourist pound during the summer season. With its live shows, indoor
markets, fairgrounds, and amusement attractions, you get the sense that the pop-up
shop selling fidget spinners or the latest trend was conceived in Blackpool.
Delve deeper, remove your
tourist blinkers, and you’ll discover a town steeped in a fascinating and long
spanning history. I’ll cover more of that history in another blog, especially
the history of the amusement and fairground industry, which is surprisingly
more intertwined with the art world than you might think with elements of the
industry that date back to 1066.
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| A Room with a View, or at least this is where I had breakfast. The hotel is within one of the main stands and the restaurant overlooks the pitch. Clear blue skies wouldn’t last all day though, this is after all, Blackpool! |
Tussaud’s or Not Tussaud’s…
When I visited Louis Tussaud’s
waxworks back in the late 1970s or early 1980s, I was amazed by how lifelike
the wax statues were. I vividly remember walking through the chamber of horrors
and the anatomical exhibition, both of which have long gone from the displays
now that the waxworks has changed ownership. I also remember standing in awe
next to a life-size Dr. Who, accompanied by his robotic dog, K9. Adjacent to
the waxworks in the 1970s and 1980s, a separate Dr Who exhibition existed that
had nothing to do with Tussaud’s, it competed for footfall by playing the Dr
Who theme tune loudly.
It seems that my appreciation
for artistic license may have been more developed back then. Looking through
old photographs of the models created and exhibited in the 1970s and 1980s, the
statues appear almost abstract. Was my memory of the exhibition blurred by the
wide-eyed wonder of childhood, or was it more a product of the time period?
Maybe it was a combination of both.
There’s no comparison between
the models displayed during those previous decades and the models you see
today. Firstly, Blackpool’s waxworks at the time was a Louis Tussaud’s, to the
unaware, it was a wannabe facsimile of the more established Madame Tussaud’s.
I’m not sure the difference would have been obvious back in the 80s; I remember
my parents calling it Madame Tussaud’s, so I grew up thinking they were one and
the same.
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| Interestingly, children have been able to gamble in Britain for decades. Only small coins and smaller winnings but there is a history here that spans back to 1066, before Blackpool had been built and well before the Golden Mile. It always rains in Blackpool. |
Today’s Madame Tussaud’s is a
far more polished experience. The models on display are the work of teams of
wax artists, sculptors, and painters, with every single detail meticulously
crafted. Each model costs around £150,000 ($188,276 US) to create and can take
months of work from a multidisciplinary teams of artisans.
Despite the seemingly lacklustre
quality of the Louis Tussaud’s models, the exhibition worked because the
statues were of people you would only usually see on TV or in newspapers. There
was no baseline of reality to compare them to, so you could readily accept
their likeness.
Louis Tussaud’s, as it was
named at the time, was a very different institution from the more established
Madame Tussaud’s, despite Louis being the great grandson of Anna Maria
Grosholtz, who would later come to be known as Madame Marie Tussaud.
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| Bear Grylls – lifelike wax figure on display at Madame Tussaud’s, Blackpool. You can get really close to the figures. Clothing is often donated by the celebrity. |
The Birth of Madame Tussaud’s
The story of perhaps the most
famous waxworks in history begins in 1761 when Anna Maria Grosholtz, was born
in Strasbourg, France. As a child, she learned the art of wax modelling from
her mentor, Dr. Philippe Curtius. Dr. Curtius, a skilled wax sculptor and
physician, taught Marie the intricate techniques of creating realistic wax
figures.
In 1777, Madame Tussaud
created her first wax sculpture, the famous philosopher Voltaire. As her skills
flourished, she caught the attention of the French royal family, leading to her
appointment as an art tutor to King Louis XVI’s sister, Madame Elizabeth,
during the turbulent years of the French Revolution. It was during the time of
the French Revolution (1789) that tensions escalated.
In 1794, during the Reign of
Terror, Madame Tussaud was arrested and imprisoned. Her captors demanded that
she create death masks of executed aristocrats, including those of King Louis
XVI and Marie Antoinette. This task was not only emotionally taxing for Madame
Tussaud but also put her in a precarious position, as her survival depended on
her ability to navigate the dangerous political climate of the time.
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| Perseverance Brings Power by Mark Taylor – I’m loving working with limited colour pallets and learning Japanese lettering to boot! |
Madame Tussaud’s skills in
creating lifelike wax sculptures, combined with her resourcefulness, likely
played a role in her survival during this tumultuous period. After her release,
she continued to practice and refine her wax modelling skills, eventually
establishing Madame Tussaud’s Waxworks, which gained fame and success both in
France and later in London. The wax museum became a testament to her artistry
and resilience in the face of challenging circumstances.
The Move to London…
In 1802, Madame Tussaud left
France and brought her collection of wax figures to London, establishing her
first exhibition on the city’s Baker Street. The exhibition quickly gained
popularity, drawing crowds eager to witness the lifelike depictions of notable
figures from both the French and British courts.
Over the years, Madame Tussaud
continued to expand her collection, adding more celebrities and historical
figures. The success of the exhibition prompted several relocations within
London, each time to larger and more prominent locations.
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| Thor – a man made from wax and other stuff… Madame Tussaud’s, Blackpool. |
Surviving Challenges…
Madame Tussaud’s faced
numerous challenges throughout its history, including fires, wars, and economic
downturns. However, the wax museum persevered, demonstrating resilience and
adaptability. In 1925, the museum moved to its current London location on
Marylebone Road, where it continues to attract millions of visitors each year.
Evolution and Innovation…
While Madame Tussaud’s
initially focused on historical and royal figures, the museum has evolved to
include celebrities, sports icons, and fictional characters. The waxworks have
become increasingly interactive, with visitors able to pose with and touch the
sculptures, creating a more immersive experience.
That experience is now global,
with more than 10-million guests visiting a Tussaud’s each year across 25
locations around the world. Each location caters to the geographic region,
blending local culture with globally recognised figures to cater for the
diverse audiences and sensitivities to local regional nuances.
The locations to date include:
1. London,
United Kingdom
2. Amsterdam,
Netherlands
3. Berlin,
Germany
4. Vienna,
Austria
5. Bangkok,
Thailand
6. Beijing,
China
7. Blackpool,
United Kingdom
8. Hollywood,
United States
9. Las
Vegas, United States
10.
Nashville, United States
11.
New York City, United States
12.
Orlando, United States
13.
San Francisco, United States
14.
Shanghai, China
15.
Singapore
16.
Sydney, Australia
17.
Tokyo, Japan
18.
Istanbul, Turkey
19.
Prague, Czech Republic
20.
Delhi, India
21.
Wuhan, China
22.
Chongqing, China
23.
Guangzhou, China
24.
Shenyang, China
25.
Seoul, South Korea
Louis Tussaud’s Waxworks: A
Quirky Tale of Wax, Wonders, and Whimsy…
On my recent visit to Blackpool’s
Madame Tussauds, I was struck by the detail that had been applied in every
model. Some were more realistic than others, but none of them reminded me of
the models that had been exhibited in the same space all those years ago. Now
that I’ve had the opportunity to find a few old photographs of the Louis
Tussaud’s I had visited back all those years ago, the difference is quite
staggering.
While Madame Tussaud’s
Waxworks is globally recognised, a quirky and lesser-known chapter in the world
of wax museums unfolds with Louis Tussaud’s Waxworks.
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| Portal by Mark Taylor – one of my latest creations is available now from usual stockists and directly. |
Born into the famed Tussaud family, Louis
Tussaud carved out (no pun intended) his niche in the wax figure world,
creating a unique legacy that adds a touch of eccentricity to the wax museum
landscape. I guess that’s a polite way to say that even today, Louis Tussaud’s
models are an acquired taste, not overly lifelike, and judging by some of the
more recent photographs I found online, the models to the casual visitor are
perhaps seen as more of a supermarket value range when compared to the much
bigger Madame Tussaud’s.
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| Fall Down Seven Times Stand Up Eight by Mark Taylor |
That’s not to disparage the
models created at the hands of the teams behind Louis Tussaud’s models. Far
from it, all too often I see a news headline decrying the quality of the
waxworks models when some celebrity or other has posted about their seemingly
hilarious visit on social media. These celebrities, and to a lesser extent some
more mortal members of the public who dismiss Louis Tussaud’s as overly
inferior, are kind of missing the artistic point.
The Two Faces of Wax Art:
Louis Tussauds Waxworks and Madame Tussauds Waxworks…
Wax figures have long been a
source of fascination and entertainment, with their lifelike appearance and
ability to capture the essence of a person or character. While Madame Tussauds
Waxworks is often considered the gold standard of wax artistry, Louis Tussauds
takes a very different approach, but, despite the whimsical and playful nature
of their models, is no less serious.
Madame Tussauds focuses on
hyperrealism, creating wax figures that are so lifelike they can from a
distance be mistaken for the real person. Louis Tussauds, on the other hand,
embraces a more artistic and playful approach, often using caricature and
exaggeration to create figures that are more akin to sculptures than realistic
representations.
You laugh at Louis but not at
Matisse…
That both Madame Tussaud’s and
Louis Tussaud’s coexist, enriches the artistry of the world of wax modelling. Contrasting
styles between the two institutions bring a much wider range of artistic
expression to the medium, just as two contrasting painters bring their own
contrasts in more traditional art forms. Some find the realism painted by old
Masters to be the gold standard when it comes to traditional artworks, the same
people might tut at the thought of hanging an original Pollock on their wall.
Both are valid art forms that appeal to each of their respective tribes.
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| As Seen On TV – all hand drawn and painted, this is one of my most recent retro inspired artworks. Available from my usual outlets and signed editions are available directly. |
Louis Tussaud’s figures have
been mocked by many, but as I intimated earlier, they’re kind of missing that
all important artistic point. Art needs to be different to cater to the diverse
tastes of art fans around the world. Some might find the caricature based
whimsical nature of a Louis model to be laughable, and that’s great, it’s a
reaction, something every artist should aspire to bring out from their work.
I personally favour Madame
Tussaud’s approach because I love detail, anyone who follows my work will know
that I sometimes go over the top on detail in my own work, it’s not necessarily
needed, but I consciously choose to add tiny extras, often to the detriment of
time. I do this because the niche audience my retro work serves have a tendency
to be sticklers for nostalgia and a small detail can be the difference between
triggering a moment of remembering the past, or making the work blah. But I
fully appreciate that sometimes, we just need a nod to the subject or a moment,
it all depends on the crowd you’re playing to.
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| Great Talents Mature Late by Mark Taylor – from my new Japanese inspired series! |
Louis Tussaud’s is without
question, very much a conversation starter. I think that’s something that
certainly, many new and even not so new artists can learn from. Art should make
you think, engage with, and talk about,
and it should give you a different perspective, and challenge perceptions. The
exaggeration is a disconnect from the real world with Louis Tussaud’s and as an
institution that is seen as an entertainment venue first and foremost, perhaps
in this respect Louis Tussaud’s is more on point.
The contrasting approaches of
Louis Tussauds Waxworks and Madame Tussauds venues and artistry serve as a
testament to the adaptability and versatility of wax as an artistic medium.
Their distinct styles not only enrich the art world but also encourage broader
appreciation for the diverse interpretations and expressions that art can
encompass. It’s also fascinating that both institutions are engaging the
general public in a conversation and discovery of an art form without many of
the public realising that they are visiting what is essentially a gallery
created by artists.
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| Flick Football by Mark Taylor – one of my retro toy creations inspired by tabletop football or as friends in the USA call it, soccer. (It’s football you know…) |
The Legacy of Louis…
Louis Tussaud, born in 1869,
inherited the families creativity and developed his own passion for wax
modelling.
In the mid-19th
century, Louis set up his own wax museum, it was intentionally different to
Madame Tussaud’s original venue in
London, England, and had been created to appeal to a very different audience.
Opening in Regent Street, London, in 1890, the waxworks enjoyed a popularity
that continues today.
Louis’s waxworks quickly
gained attention for its eclectic mix of historical figures, celebrities, and
peculiar creations, each imbued with his distinctive style.
Louis Tussaud’s Waxworks was
not known for its strict adherence to realism, making that distinction between
the two museums even more apparent. While Madame Tussaud was synonymous with hyper-realism,
Louis took creative liberties, infusing a touch of humour and whimsy into his
figures. Visitors to his museum were treated to a curious collection that
included exaggerated and caricatured versions of famous personalities, making
for a light-hearted and entertaining experience.
Following Louis Tussaud’s
death in 1938, his waxworks continued under the care of his descendants. The
museum faced challenges, including changes in ownership and locations, but it
maintained its reputation for quirkiness. Over the years, the collection expanded
to include new additions, blending historical figures with contemporary pop
culture references.
Louis Tussaud’s was also known
for its chamber of horrors attraction, something I remember well from the
Blackpool location. It featured exhibits that were probably too mature for
young people, yet I must have been around 9 or 10 years old when I first visited.
Exhibits at the time included a torture chamber and a guillotine.
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| Slot Car Racing art print by Mark Taylor – available from my usual outlets. You have no idea how long it took me to paint the track, it looked so simple yet I was still working on the track after 5 hours! You can see the detail on my Pixels website. |
The Evolution of Wax
Modelling…
In the early days of wax
modelling, artisans and sculptors would use beeswax, today the materials are
far more advanced. Wax is still the primary material used in modelling but
artists also use resin and silicone, and the techniques used today are
significantly more advanced than in the past.
Early artists would use simple
sculpting techniques, today they use a much more varied range of techniques,
technology and skills including digital sculpting and 3D printing. This isn’t
surprising as some of the wax models today also incorporate technologies and
advanced animatronics.
New techniques are constantly
being explored, but many of the techniques used today hark back to the very same processes used by
Madame Tussaud. Once a public figure is chosen, there is a sitting where up to
200 measurements are taken of the subject alongside photographs from every
angle. Eyes, hair and skin are colour matched, and a metal armature is
constructed to support a clay mould.
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| Wabi Sabi Japanese inspired artwork by Mark Taylor – one of a series of new works originally created as a commission. The commissioned piece will appear on a future trading card! |
The head is worked on
separately from the body, in a process that can last for around four to six
weeks. Real human hairs are inserted individually, including eyebrows, and
artist’s will then paint the model to reproduce the exact skin tone and detail any
blemishes. In this process, ten base layers are used to replicate the skin tone
and it is at this point that an hair stylist will style the hair.
A plaster cast is created from
the clay sculpture and then melted wax is poured slowly into the mould to avoid
air bubbles. Excess wax is then removed leaving a hallow head where the eyes
and teeth can then be placed. The body of each Madame Tussaud waxwork is then
created in exactly the same way, but bodies are created using fibreglass for
durability.
Wax Modelling Beyond The
Tourist Attraction…
Wax models have also been used
in anatomy and medicine for centuries and while the contributions of Vesalius
and his followers to anatomical illustration have been widely recognised, the
work of Veslingius and particularly Fabricius has often been overlooked. By
1600, Fabricius had amassed over 300 paintings that together formed the Tabulae
Pictae, an impressive anatomical atlas that was highly regarded by his
contemporaries. Many of his new observations were incorporated into subsequent
works, including those by Casserius, Spighelius, Harvey, and Veslingius
himself.
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| Neon Nostalgia by Mark Taylor – another new retro work, this time featuring the stuff you really wanted in the 1980s! |
The Tabulae Pictae: A
Masterpiece of Anatomical Illustration
The Tabulae Pictae was a
ground-breaking work that featured highly detailed and accurate illustrations of
the human body. Fabricius’s meticulous attention to detail and his use of
shading and perspective created a sense of realism that was unmatched by previous
anatomical illustrations. His work was particularly influential in the
development of anatomical wax modelling.
The Influence of Eustachius
and the Rise of Anatomical Wax Modelling…
The Tabulae by Eustachius
(1552), which were not published until 1714, also had a significant impact on
anatomical wax modelling. Eustachius’s detailed illustrations of the inner ear
and other anatomical structures provided valuable inspiration for wax modelers.
In 1742, Pope Benedict XIV
established the Museum of Anatomy in Bologna, entrusting Ercole Lelli with the
creation of several anatomical preparations in wax. Lelli’s work was highly
regarded, and his wax models were used for teaching and research purposes for
many years.
Felice Fontana, recognising
the potential of wax models for anatomical teaching, proposed the establishment
of a wax-modelling workshop in Florence in 1771. With the support of the Grand
Duke, Fontana’s workshop produced a large number of highly detailed wax models
that were used for teaching and research purposes throughout Europe.
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| Fear is Greater than Danger by Mark Taylor – one of the new series of Japanese inspired works I have worked on. |
The contributions of
Veslingius, Fabricius, Eustachius, Lelli, and Fontana to anatomical
illustration and wax modelling were significant and far-reaching. Their work
helped to advance the understanding of human anatomy and revolutionised the way
anatomy was taught and studied.
The Renaissance…
Masters of wax modelling also
appeared during the renaissance, where models would appear alongside more
traditional works of art. Sculptors during this period would also create wax
models as drafts for the works they would go on to produce in stone or marble,
and there are surviving examples from Michelangelo in the Royal Collection and
the British Museum.
It was also during the
renaissance that wax portrait reliefs became popular, with the craft originally
attributed to Antonio Abondio who had previously created works for the courts
of Northern Europe. Interestingly, wax portraits continue for the time being to
be one of the more affordable entry points to serious fine art collecting.
Today it’s not impossible to
pick up a relatively early work for a few hundred pounds or dollars, although
those with more important connections will be more likely in the region of ten
thousand pounds/dollars. In 2015, a work valued at $7000 surpassed the estimate
with a final sale price of $31,250 and in 2020, a collection of wax seals from
famous figures including William Pitt, Marie Antionette, and Benjamin Franklin
was sold at Sotheby’s for £5250 (UK).
Collecting Wax Art…
If you are thinking about
collecting wax based art, you might also want to consider that the figures,
models and seals you are most likely to find today will have been created with
beeswax, and this is especially problematic to care for. Often tinted with
pigment, wax portraits are especially susceptible to UV rays and heat from the
sun. You might also want to consider how any pieces are lit, the standard light
level to display these items is usually around 150 LUX with a maximum UV level
of 75 microwatts per lumen.
Temperature is another factor
to consider. In warm or high temperatures, the works can become deformed, if
the temperature is too cold, then you will see cracks leaving the work brittle
due to a loss of moisture and elasticity. If models are constructed using metal
frames, there’s also a consideration around the introduction of rust.
So while there are a lot of
these works selling relatively inexpensively when compared to other fine arts,
you do need to pay attention to the condition of the work. If problems are
caught early on, then it is possible for a conservator to preserve the piece in
most cases, but this adds to the overall cost of ownership. That said,
traditional fine art can also succumb to environmental factors, and I have a
feeling that wax is beginning to become more fashionable amongst collectors
given the recent sales figures, so long as you keep it stored in a cool dark
place, but just maybe not in Louis Tussaud’s Chamber of Horrors, it was
horrific!
About Mark…
Mark is an original retro
artist who has been painting the 1980s since the 1980s. He is a vintage
technology and home computing preservationist (retro hoarder) and has been
creating art professionally since the mid-eighties. He made brief appearances
on TV and Radio during the 1990s.
You can purchase Mark’s work
through Fine Art America or his Pixels site here: https://10-mark-taylor.pixels.com You
can also purchase prints and originals directly. You can view Mark’s portfolio
website and see a small selection of his works at https://beechhousemedia.com
Join the conversation on
Facebook at: https://facebook.com/beechhousemedia
and Threads or connect on “X” (You realise it’s still Twitter right?)
@beechhouseart You can also find me on BlueSky, but let’s be honest, no one can
find anyone on BlueSky. All images, text, are copyright.
