The craft of stucco workers, once a central form of expression in the design of baroque churches and palaces, often seems to be only a marginal phenomenon today.
But for master craftsman Werner Schwentner, it is a calling that he pursues with complete dedication. He is one of the few who still masters old techniques, such as the production of artificial marble. For him, this is not just a craft, but an art: "The beauty of stucco marble is of course the mixing and working with plaster, in order to have a wonderful sense of achievement at the end."
Schwentner is particularly fascinated by the restoration of historical altars and the production of artificial marble, which require a high level of precision and experience.
This passion for attention to detail is evident in every step of his work, which often takes weeks until all the "damaged areas have been repaired, filled and sanded". This is a process that requires patience and deep knowledge, for example to bring the original colour of an altar back to light. Because "light in particular takes away the colour and luminosity of the stucco marble over time", as Schwentner describes.
It is also difficult to design the stucco marble in such a way that the transitions between the old and new material are barely recognizable. One experience that always surprises him is the moment when even he "can no longer say exactly where the old marble ends and the new begins."
However, achieving this level of perfection is labor-intensive. During production, the master must regularly go out into the fresh air to assess the color of the marble under natural daylight. For Schwentner, it is a passion that often goes beyond purely economic considerations.
But the environment in which Schwentner works also offers him a kind of retreat. His workshop in Augsburg, which now resembles a small museum, houses collections of memorabilia and is a "life center" for Schwentner.
Here he keeps his works of art, but also collectibles that inspire him and that often attract visitors who share his sense of quality of life.
Schwentner is convinced that the work of plasterers could be more recognized today. This craft not only produces "unimagined shapes and colors," but also combines the art of the old with the modernity of the new. So the question remains: will the traditional craft of plasterers be restored to its former glory, or will it remain a testament to times gone by?
In the context of Forma Aeternus, the art of plastering can be interpreted as an authentic embodiment of timeless beauty and classical aesthetics. Master Schwentner's work on historical altars and artistic marble surfaces is not just pure craftsmanship, but a homage to durability and an aesthetic that lies beyond fashion and the spirit of the times.
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