Bronze sculpture in the context of "Horses of Saint Mark"

The Thinker (French: Le Penseur), by Auguste Rodin, is a bronze sculpture depicting a nude male figure of heroic size, seated on a large rock, leaning forward, his right elbow placed upon his left thigh, with the back of his right hand supporting his chin in a posture evocative of deep thought and contemplation. This universally recognized expression of "deep thought" has made the sculpture one of the most widely known artworks in the world. It has become the iconic symbol of thinking; images of the sculpture in profile are often used to indicate philosophy and other practices of contemplation or introspection.

Rodin conceived the figure as part of his work The Gates of Hell commissioned in 1880, but the first of the familiar monumental bronze castings was made in 1904, and is now exhibited at the Musée Rodin, in Paris.

The Dying Gaul, also called The Dying Galatian (Italian: Galata Morente) or The Dying Gladiator, is an ancient Roman marble semi-recumbent statue now in the Capitoline Museums in Rome. It is a copy of a now lost Greek sculpture from the Hellenistic period (323–31 BC) thought to have been made in bronze. The original may have been commissioned at some time between 230 and 220 BC by Attalus I of Pergamon to celebrate his victory over the Galatians, the Celtic or Gaulish people of parts of Anatolia. The original sculptor is believed to have been Epigonus, a court sculptor of the Attalid dynasty of Pergamon.

Until the 20th century, the marble statue was usually known as The Dying Gladiator, on the assumption that it depicted a wounded gladiator in a Roman amphitheatre. However, in the mid-19th century it was re-identified as a Gaul or Galatian and the present name "Dying Gaul" gradually achieved popular acceptance. The identification as a "barbarian" was evidenced for the figure's neck torc, thick hair and moustache, weapons and shield carved on the floor, and a type of Gallic horn, a carnyx, between his legs.

Dancing Girl is a prehistoric bronze sculpture made in lost-wax casting about c. 2300–1751 BC in the Indus Valley Civilisation city of Mohenjo-daro (in modern-day Pakistan), which was one of the earliest cities. The statue is 10.5 centimetres (4.1 in) tall, and depicts a nude young woman or girl with stylized ornaments, standing in a confident, naturalistic pose. Dancing Girl is highly regarded as a work of art.

The statue was excavated by British archaeologist Ernest Mackay in the "HR area" of Mohenjo-daro in 1926. It is now in the National Museum, New Delhi, having been allocated to India at the Partition of India in 1947.

Charging Bull (sometimes referred to as the Bull of Wall Street or the Bowling Green Bull) is a bronze sculpture that stands on Broadway just north of Bowling Green in the Financial District of Manhattan in New York City. The 7,100-pound (3,200 kg) bronze sculpture, standing 11 feet (3.4 m) tall and measuring 16 feet (4.9 m) long, depicts a bull, the symbol of financial optimism and prosperity. Charging Bull is a popular tourist destination that draws thousands of people a day, symbolizing Wall Street and the Financial District.

The sculpture was created by Italian artist Arturo Di Modica in the wake of the 1987 Black Monday stock market crash. Late in the evening of Thursday, December 14, 1989, Di Modica arrived on Wall Street with Charging Bull on the back of a truck and illegally dropped the sculpture outside of the New York Stock Exchange Building. After being removed by the New York City Police Department later that day, Charging Bull was installed at Bowling Green on December 20, 1989. Despite initially having only a temporary permit to be located at Bowling Green, Charging Bull became a popular tourist attraction. Di Modica may have been influenced by a pair of huge metallic sculptures, a charging bull and a bear, placed in front of the Frankfurt Stock Exchange in 1985 as part of the 400th anniversary celebration of the exchange.

Giambologna (1529 – 13 August 1608), also known as Jean de Boulogne (French), Jehan Boulongne (Flemish) and Giovanni da Bologna (Italian), was the last significant Italian Renaissance sculptor, with a large workshop producing large and small works in bronze and marble in a late Mannerist style.

The Charioteer of Delphi, also known as Heniokhos (Greek: Ἡνίοχος, the rein-holder), is an ancient Greek bronze statue dating to around 470 BC. Standing 1.8 meters tall, the life-size figure of a chariot driver was originally part of a larger sculptural group that included a chariot, horses, and child attendants, fragments of which were also uncovered among the ruins. The work was dedicated at the Sanctuary of Apollo at Delphi, one of the most important religious sites of the Greek world, to commemorate a victory in the panhellenic Pythian Games, which featured both athletic and equestrian competitions.

The figure represents a young noble, or ephebe, wearing a characteristic sleeved tunic. He is shown after the race has ended, during the victory parade, wearing the champion's headband. His head is turned slightly to the left, and his hands are modeled with great detail, with the fingers still curved around the reins. Unlike many other artworks from the sanctuary that were looted or destroyed, it survived because it had been buried in the debris of the great earthquake of 373 BC.

Electrotyping (also galvanoplasty) is a chemical method for forming metal parts that exactly reproduce a model. The method was invented by a Prussian engineer Moritz von Jacobi in Russia in 1838, and was immediately adopted for applications in printing and several other fields. As described in an 1890 treatise, electrotyping produces "an exact facsimile of any object having an irregular surface, whether it be an engraved steel- or copper-plate, a wood-cut, or a form of set-up type, to be used for printing; or a medal, medallion, statue, bust, or even a natural object, for art purposes."

In art, several important "bronze" sculptures created in the 19th century are actually electrotyped copper, and not bronze at all; sculptures were executed using electrotyping at least into the 1930s. In printing, electrotyping had become a standard method for producing plates for letterpress printing by the late 1800s. It complemented the older technology of stereotyping, which involved metal casting. By 1901, stereotypers and electrotypers in several countries had formed labor unions around these crafts. The unions persisted into the 1970s, but by the late 20th century, after more than a century in widespread use for preparing plates, the two technologies had been bypassed by the transitions to offset printing and to new techniques for the preparation of printing plates.