He was born in Košolná, where he grew up in a Hutterite court. The environment full of rich tradition of utility and decorative ceramics also determined the coordinates of his later artistic journey.

An almost fateful event for young Bizmayer was meeting Herman Landsfeld, who at that time was excavating old ceramics at the Bizmayer court in Košolná. His relationship with visual arts definitively began to manifest in his later life direction. Herman Landsfeld, an excellent folk painter of majolica products and a historian and intimate connoisseur of Hutterite ceramics in one person, provided him with important insights from this area and comprehensive assistance in further studies at the ceramics school in Modra (1936 – 1939).

In 1939, Bizmayer remains in the workshop of Modra Slovak ceramics as a painter of products. He focuses on painting figures that are reproduced by pressing, and soon he models the originals needed for reproduction. In 1952, he takes on the role of head of the Modra painting workshop, where he stays until 1957.

The work of Ignác Bizmayer from these years already successfully represents Slovak visual culture at home and abroad. In the following period, he systematically develops his artistic vision of his native Slovakia, its people, and their lives in ceramic sculptures, figurative compositions, and other works such as ceramic reliefs (cf. Ľudovít Petranský: Ignác Bizmayer, shortened).