An Edmonia Lewis Cleopatra is reborn in 115 3D-printed parts
A monumental 1876 sculpture becomes accessible to the public again thanks to additive manufacturing. Montana Technological University, Montana State University, and the Smithsonian American Art Museum have completed the life-size reproduction of “The Death of Cleopatra,” a masterpiece by artist Edmonia Lewis.
The project required 1,150 hours of printing distributed across five FDM machines, producing 115 PLA components. Assembly took an additional 30 hours before artistic finishing.
Why replicate instead of moving the original
3D printing makes it possible to exhibit monumental works without risk to the original held in national museums.
The original work is kept at the Smithsonian American Art Museum in Washington. Physically moving it would entail conservation risks and high costs. The replica intended for the Museum of the Rockies allows visitors to appreciate its monumental scale without interventions on the original.
Edmonia Lewis was one of the first African American and Native American artists to achieve international recognition in sculpture. Her Cleopatra, exhibited at the 1876 Centennial Exposition in Philadelphia, stood out for an unconventional treatment of the historical figure.
- 115 parts printed in PLA for a monumental sculpture
- 1,150 hours of printing on 5 FDM machines
- 30 hours of assembly before finishing
- Replica on display at the Museum of the Rockies
From the digital model to strategic segmentation
Transforming a high-definition scan into printable parts requires specific expertise in model preparation.
The Smithsonian provided a high-definition three-dimensional model obtained through digital scanning. This type of file contains enormous amounts of geometric data, but it is not immediately ready for printing.
Students Jadon Bingham and Daniel Topp, together with researcher Nathan Huft, handled the preparation and segmentation of the model. The cuts were positioned to minimize assembly difficulties and hide the joints in places compatible with the sculptural form.
It was not enough to mechanically divide the model into a regular grid. An approach was needed that respected the aesthetics of the work and facilitated final assembly.
The technological choice: FDM and PLA
The group preferred FDM printing in PLA over resin for reasons of scale and production practicality.
The project had initially been conceived with resin printers. Ultimately, filament PLA was chosen for practical reasons related to the required production volumes.
| Machine | Type | Role in the project |
|---|---|---|
| Elegoo Centauri Carbon (×2) | FDM | Main parts production |
| Creatbot F430NX | FDM | Large components |
| VisionMiner IDEX22 | Dual-extruder FDM | Complex parts |
| Creality Ender V3 Plus | FDM | Secondary elements |
The distribution of work across five machines made it possible to parallelize production. Each printer worked on specific components based on its technical characteristics.
Implications for cultural heritage
This project demonstrates how additive manufacturing can democratize access to monumental works of art.
The reproduction of “The Death of Cleopatra” represents a concrete example of applying 3D printing to the conservation and dissemination of cultural heritage. It is not about replacing the original, but about making it accessible to geographically distant audiences.
Dividing monumental models requires skills that go beyond simple slicing. Planning is needed that considers assembly, structural strength, and final aesthetic rendering.
The case also highlights the role of universities in experimenting with additive technologies for non-industrial applications. Collaboration between academic and museum institutions opens up possibilities for similar projects on other historical works.
Additive manufacturing confirms itself as a versatile tool not only for prototyping and industrial production, but also for cultural enhancement and artistic education.
article written with the help of artificial intelligence systems
Q&A
How many printing hours and how many parts were needed for the Cleopatra replica?
The project required 1,150 printing hours distributed across five FDM machines, producing 115 PLA components. Assembly then took a further 30 hours before the artistic finishing.
Where will the 3D-printed replica of the sculpture be exhibited?
The replica is destined for the Museum of the Rockies. The original remains housed at the Smithsonian American Art Museum in Washington, avoiding conservation risks and transfer costs.
Who created the reproduction and with what expertise?
The project was completed by Montana Technological University, Montana State University and the Smithsonian American Art Museum. Students Jadon Bingham and Daniel Topp, with researcher Nathan Huft, handled preparation and subdivision of the model.
Why was FDM printing in PLA chosen instead of resin?
The project was initially conceived with resin printers, but the choice fell on PLA filament for practical reasons related to the required production volumes. The monumental scale and production practicality guided the decision.
How was the digital model divided for printing?
The Smithsonian provided a high-definition three-dimensional model obtained through digital scanning. Cuts were positioned to minimize assembly difficulties and hide the joints at points compatible with the sculptural form.
