Gunther Stimpfls rise to the art elite began in Vienna. He was from 1964 to 1972 as master student of Fritz Wotruba and Joannis Avramidis at the Academy of Arts. From 1972 to 1984 he paid attention to himself by designs for mobile wind and water objects. Since 1985 Stimpfl works as a freelance sculptor.

His static-figurative large and small sculptures that find much attention in exhibitions in the art centres of Europe today are showpieces of significant public and private collections.

Gunther Stimpfl reflects peoples need to express his spiritual world in visible symbols in a modern and at the same time, archaic sculpture. The weightless elegance of his impressive works of the idols of sunken cultures, spirit and imagination and meets the desire of people for beauty that stands the test of time.

Designation for an art object (sculpture, installation), which is produced according to the will of the artist in multiple copies in a limited and numbered edition.

Artist's multiple contributed to "democratization" of art as the work was made available and affordable for a wider audience.

An alloy of copper with other metals (especially with tin) used since ancient times.

Bronze casting:

When casting bronze, artist usually applies the lost-wax technique which is dating back more than 5000 years. It's the best, but also the most complex method of producing sculptures.

Sculpture "The Book Reader" by Ernst Barlachs is shown here as an example:

First, the artist forms a model of his sculpture. It is embedded in a liquid silicone rubber composition. Once the material has solidified, the model is cut out. The liquid wax is poured in the negative mould. After cooling down, the wax casting is removed from the mould, provided with sprues and dipped into ceramic mass. The ceramic mass is hardened in a kiln, and the wax flows out (lost mould).

Now we finally have the negative form, into which the 1400 ° C hot molten bronze is poured. After the bronze had cooled down, the ceramic shell is broken off and the sculpture comes to light.

Now the sprues are removed, the surfaces are polished, patinated and numbered by the artist himself or, to his specifications, by a specialist. Thus, each casting becomes an original work