Erwin A. Schinzel:
Sculpture "Kestrel", Bronze


Erwin A. Schinzel:
Sculpture "Kestrel", Bronze

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ars mundi special edition | Limited, 199 copies | Numbered | Signature | Foundry stamp | Certificate | Bronze | Patinated | Polished | Format 38 x 20 x 15 cm (H/W/D) | Weight 6,7 kg

Erwin A. Schinzel: Sculpture "Kestrel", Bronze

His life also embraces a century - in October 2018, Erwin A, Schinzel got 99 years old. It is worth attention, but not more than the fact that he dedicated more than 8 decades to the art. It's not all: the upcoming Centenary continues to work on new sculptures even today. In their liveliness, these works can be included in the best animal sculptures of all times.

Sculpture "Kestrel":
one can see the kestrel - the bird of 2007 - as a binding element between the animal nature and the human civilization. In Europe, it is the most frequent type of kestrel, and therefore it takes the name tower-, dom-, or the church kestrel, thanks to its liking to build nests in human settlements. Schinzel shows the powerful prey bird gazing around - and perhaps also watching the strange human activity around him.

Sculpture in bronze, cast in the lost wax technique, patinated and polished. The shape was copied directly from the original. Limited edition of 199 copies, numbered and provided with the signature of Prof. Schinzel and the foundry hallmark taken from the original. Including a hand-numbered certificate. Format 38 x 20 x 15 cm (H / W / D). Weight 6.7 kg. ars mundi special edition.

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Portrait of the artist Erwin SchinzelGerman sculptor, born in 1919 in Jagerndorf/Sudetenland, lives and works in Waldbronn

Are there still real "classic" among the sculptors? Artists who create works that stand in the tradition of their art, open and undisguised inherit know how to act currently the Great in their field? So is Erwin A. Schinzel is one of them. His works show a time when accuracy and perfection of appearance were still highest standards of sculpture of the traditional sovereignty. He ignores deliberately all fashions and Modernisms of the century, which includes his life time substantially.

Schinzel is noticed by his creative genius: Barely twenty years old, he attended the Academy of Arts in Berlin and was included the small, exclusive circle of master student of Arno Breker. Travels took him to Greece and Crete, where he studied the ancient examples of sculpture.

For eight decades, he was a freelance artist and has created in this period, hundreds of sculptures; in addition, he was a professor at the International Academy of Arts and Visual to Altenburg and at the International Academy in Bologna. His sculptures have one main topic: the people and this in uninterrupted beauty. The beauty comes without interruption to their right, and it is in a sense the eye of the beholder, which is celebrated here.

"Man, which again gives the experience of his environment with creative talent, to make the people happy in it again, can only and have to see with the eyes of the soul, to speak a language with his hands that is timeless and knows no bounds." (Erwin A. Schinzel).

Schinzel Works in his studio in Waldbronn, in which he still pursues his creative work every day, can be found in numerous collections in the country and abroad.

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:

Ernst Barlach: Sculpture 'The book reader'

Ernst Barlach 'The Book Reader' - Lost Wax Casting Technique Part 1

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).

Ernst Barlach 'The Book Reader' - Lost Wax Casting Technique Part 2Now 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.

Ernst Barlach 'The Book Reader' - Lost Wax Casting Technique Part 3Now 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

For lower-grade bronze castings, the sand casting method is often used which, however, does not achieve the results of more complex lost wax technique in terms of surface characteristics and quality.

Related links:
Sand casting

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