Julio Gonzalez

JULIO GONZÁLEZ (Barcelona, 1876 - Arcueil, France, 1942).
"Tête à l'auréole", ca. 1932.
Bronze, copy 1/2.
Signed and numbered.
With foundry stamp E. Godard Fond. Edition of two copies, plus two castings marked with the initials EA and HC.
Provenance: Estate of the artist; Leandro Navarro Gallery, Madrid; Private collection, Spain.
Exhibitions:
- Paris, Musée National d'Art Moderne, Julio González: Sculptures, 1952 (illustrated in the catalog, no. 51).
-Amsterdam, Stedelijk Museum, Julio González, 1955 (illustrated in the catalog, no. 59).
- Brussels, Palais des Beaux-Arts, Julio González, 1955 (illustrated in the catalog, no. 59).
- Kunsthalle Bern, Julio González, 1955 (illustrated in catalog no. 31).
- La Chaux-de-Fonds, Musée des Beaux-Arts, Julio González 1955 (illustrated in catalog no. 31) and Julio González 1956 (illustrated in catalog no. 35).
- Hannover, Kestner-Gesellschaft. Julio González, 1957 (illustrated in catalog no. 34).
- Krefeld, Museum Haus Lange. Julio González, 1958 (illustrated in catalog no. 34).
- Dortmund, Museum am Ostwall. Julio González, 1958 (illustrated in catalog no. 34).
- Leverkusen, Städtisches Museum Schloss Morsbroich. Julio González, 1958 (illustrated in catalog no. 34) .
- New York, The Pace Gallery. Julio González. Sculpture and drawings, 1981.
- Paris, GDF, Julio González, David Smith, Anthony Caro, Tim Scott, Michael Steiner, 1980. Itinerant: Bielefeld, Kunsthalle, 1980; Berlin, Haus am Waldsee, 1980; Tübingen, Kunsthalle, 1980; Hamburg, Galerie Wentzel, 1980 and Ludwigshafen, Wilhelm-Back-Museum, 1981.
Parallels:
- "Tête à l'auréole," ca. 1932, Institut Valencià d'Art Modern (IVAM), Valencia.
- "Woman with hair pulled back in a bun," ca. 1930, Art Institute of Chicago, Chicago.
Bibliography:
- Léon Degand, González. Cologne/Berlin, Kiepenheuer & Witsch, 1956, illustrated no. 7 Vicente Aguilera Cerni. Julio González. Rome, Edizioni dell'Ateneo, 1962. Illustration XXVI.
- Vicente Aguilera Cerni. Julio, Joan, Roberta: The Journey of a Dynasty Barcelona, Ediciones Poligrafa, 1973. No. 144, illustration p. 20.
- Josephine Withers. Julio González, Sculpture in Iron. New York, New York University Press, 1978. No. 58.
- Alain Kirili. Virgins & Totems. In: Art in America, New York, October.
Measurements: 21 x 14,8 x 3,8 cm.

"Tête à l'auréole" is an outstanding example of the influence that Pablo Picasso exerted on Julio González in the context of a decisive artistic exchange for the renewal of 20th century sculpture. Between 1928 and 1931, the two prolific artists maintained a particularly fruitful collaboration: Gonzalez contributed his technical mastery of iron, while Picasso introduced innovative approaches. This dialogue was key to transferring the principles of Cubism to the sculptural realm and to propelling Gonzalez's evolution towards abstraction. The work also reflects a moment of transition in which the human figure is simplified until it is reduced to essential lines, anticipating later developments in abstract art.

The museum projection of this work is reinforced by placing it in dialogue with closely related pieces held in leading institutions, such as Tête à l'auréole at the IVAM in Valencia or Woman with Hair in a Bun at the Art Institute of Chicago. In this context, our work is not only fully integrated into this group, but also participates significantly in one of the most innovative moments of Julio Gonzalez's career. All three share the use of forged, cut and welded iron, a technique that the artist developed in the 1930s and which is fundamental in the redefinition of modern sculpture. Thus, our piece is placed at the height of these museum examples, demonstrating its historical, technical and artistic relevance.

It is also worth noting the special relevance of the piece in bidding as a specimen 1 of 2, a condition that underlines its rarity and value within the artist's production.

The "halo" that gives the sculpture its title is materialized in this case as a circle or metallic arc that surrounds or crowns the head, incorporating a symbolic dimension. This curved form establishes an interesting contrast with the angular lines of the face, generating a balance between the geometric and the organic that denotes Gonzalez's artistic maturity in abstract art and metalwork.

The use of welded metal is fundamental: he transforms this industrial material into a poetic and dynamic expression, in which space and emptiness are as important as the material itself.

Julio González, considered the father of iron sculpture, was a key figure of the 20th century avant-garde. Trained in a family of goldsmiths in modernist Barcelona, he moved to Paris in 1900, where he came into contact with artists such as Picasso, Brancusi and Gargallo. There he learned autogenous welding, fundamental for his sculptural innovation. After a first stage with naturalist and symbolist influences, he evolved towards experimentation with volume and space. His collaboration with Picasso in the 1920s was decisive in applying the cubist language to sculpture. From then on, he developed his characteristic use of wrought iron, creating increasingly abstract and complex works based on "drawing in space". In the 1930s his work became more abstract, combining linear structures and cubist-influenced metal plates. During World War II, due to the shortage of iron, he worked mainly with plaster and addressed war themes.