- 1
Julio González
Description
- Julio González
- Personnage au carré blanc no. 1
- signed with the initials J.G., dated 1937 and inscribed 16-3 (lower left)
- collage, coloured crayons and pen and ink over pencil on paper
- sheet size: 33 by 25.5cm. 13 by 10in.
- window size: 30 by 23.5cm. 11 3/4 by 9 1/4 in.
Provenance
Acquired directly from the above in 1984
Exhibited
Literature
Condition
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
González was a prolific draughtsman throughout his career, producing a number of drawings and works on paper as studies for his sculptures, as well as those that can be seen independently of the three-dimensional medium, as works in their own right. In Personnage au carré blanc no. 1 he combined natural elements with purely abstract forms, creating an assemblage reminiscent of his sculpture Femme au miroir (fig. 1), on which he was working at the time. Merging drawing with the medium of collage, this work appears to be the extension of the artist's experimentation with abstraction, evoking the three-dimensionality of sculpture on a flat picture plane.
Writing about González's work in this medium, Margit Rowell commented: 'Starting in 1932, after mastering the process of improvising with metal in space, he executed fewer truly preparatory sketches directly related to specific sculptures. Although González may have explored in drawings variations on a theme he considered particularly significant, the sculpture itself would often be quite different. Sometimes he made elaborate drawings after the sculpture was finished' (M. Rowell, in Julio González: A Retrospective (exhibition catalogue), op. cit., p. 48).
Fig. 1, Julio González, Femme au miroir, circa 1936-37, iron, Instituto Valenciano de Arte Moderno, Valencia