Julio González

Estate of the artist
Pace Gallery, New York
Acquired from the above in 1981

Dorothy Dudley, "Four Post-Moderns, Alicka, Benno, Bores et González," in The American Magazine of Art, Washington, D.C., September 1935, vol. 28, no. 9, illustration of another cast p. 547
P.-G. Brugière, "Julio González, les étapes de l'oeuvre," in Cahiers d'Art, Paris, July 1952, vol. XXVII, pp. 20 & 22
Léon Degand, González, Cologne & Berlin, 1956, illustration of another cast fig. 14
Werner Hofmann, Die Plastik des 20. Jahrhunderts, Frankfurt, 1958, no. 28
Michel Seuphor, La Sculpture de ce siècle, Neuchâtel, 1959, p. 77 
Vicente Aguilera Cerni, Julio González, Rome, 1962, illustration of another cast pl. XLIX
Léon Degand, González, Berlin, 1965, no. 14, illustration of another cast n.p.
Carlos A. Aréan & R. González, Julio González, Madrid, 1965, illustration of another cast n.p. 
Carlos A. Aréan, "Los tres González - Joan, Julio, Roberta," in Cuadernos de Arte, Madrid, 1968, vol. 247, illustration of another cast 
Josephine Withers, "Julio González," in Bellas Artes, Madrid, 1970, illustration of another cast p. 37 
Pierre Descargues, Julio González, Paris, 1971, illustration of another cast p. 31
Vicente Aguilera Cerni, Julio Gonzàlez, Barcelona, 1973, no. 220, illustration of the iron version p. 266
Vicente Aguilera Cerni, Julio, Joan, Roberta González, itinerario de una dinastía, Barcelona, 1973, no. 220, illustration of another cast p. 266
Josephine Withers, "Los materiales y la técnica," in Guadalimar, Madrid, 1976, no. 16, illustration of another cast p. 37
Josephine Withers, Julio Gonzàlez: Sculpture in Iron, New York, 1978, no. 54, illustration of the iron version fig. 40
Julio Gonzàlez Sculpture & Drawings (exhibition catalogue), Pace Gallery, New York, 1981, illustrated n.p.
M. Fitzgerald, "Julio González — in plain view," in Arts Magazine, New York, June 1983, illustration of another cast p. 104 
Alain Kirili, "Virgins & Totems," in Art in America, New York, 1983, illustration of another cast p. 159
Werner Schnell, "Zeichen als bidhauerisches Prinzip, Julio González 1876-1942," in Kunstforum International, Cologne, October 1983, vol. 66, illustration of another cast p. 151
Margit Rowell, "Julio González," in La Collection du Musée national d'art moderne, vol. I, Paris, 1986, illustration of another cast p. 253
Werner Schmalenbach, Bilder des 20. Jahrhunderts, Die Kunstsammlung Nordrhein-Westfalen, Dusseldorf, 1986, illustration of another cast p. 247
Jörn Merkert, Julio González, Catalogue raisonné des sculptures, Milan, 1987, no. 154, illustration of another cast pp. 157-59
Carmen Alborch Bataller, Julio González: las colecciones del IVAM, Madrid, 1989, pp. 11 & 48
Tomas Llorens, Julio González, las colecciones del IVAM, nuevos fondos, Valencia, 1993, p. 77
Jörn Merkert, Julio González, el inventor de la escultura en heirro, Valencia, 1994, p. 45
Werner Schmalenbach, Kunst! Reden-Streiten-Schreiben, Cologne, 2000, illustration of another cast p. 97
Guillermo Solana, Julio González en la colección del IVAM, catalogue raisonné, Valencia, 2000, pp. 21, 136 & 140, illustration of another cast p. 137
Brigitte Léal, "Julio González," in La Collection du Centre Pompidou, Musée d'art moderne, Paris, 2006, illustration of another cast p. 283

Attractive dark brown patina. Some minor dust in the crevices consistent with age. This work is in very good condition.
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The early 1930s were a period of enormous creativity in which González, working alongside Pablo Picasso, developed a revolutionary sense of spatial freedom in his sculpture. Le Rêve ou Le Baiser reflects the sophisticated aesthetic and dramatic abstraction for which the artist's sculptures are renowned. His well-known collaboration with Picasso certainly influenced González's approach to sculpture, however his concept of form differed from Picasso’s. While Picasso collaborated with González to transform his drawings into sculptures, González's own works are much more deeply involved with the process of developing form through the relation of three-dimensional parts.

Discussing González’s remarkable accomplishments, Margit Rowell commented: "González transformed the face of twentieth century sculpture from an art of representational images to an art of invention: an art of formally self-referential objects evoking ideas. A subway was no longer a model to be imitated but a theme on which to compose autonomous formal variations. A material was no longer a medium in the literal sense but the basic determinant of form. A technique was no longer relegated to the hands of a master craftsman or technician but remained in the hands of the artist alone. In fact, it was through the artist’s direct realization of his work—the direct forging of metals—that the new vision of sculpture as we know it today was born" (Margit Rowell in Julio González, A Retrospective Exhibition (exhibition catalogue), Solomon R. Guggenheim Museum, New York, 1983, p. 30).