Photos: Carlos A. Schwartz – Efraín Pintos

Mujer sentada nº 2 (Seated Woman no. 2)

“The Museum of Modern Art of Barcelona is present with “Seated Woman, no. 2”, a bronze piece by Julio González from 1935-37. It is a copy of an original in iron. This small work shows, in reduction, the monumental character of his work and the influence it has had on contemporary sculpture.”

Westerdahl, E. (1973). La 1ª Exposición Internacional de Escultura en la calle, en Santa Cruz de Tenerife. Quaderns d’arquitectura i urbanisme, ISSN 1133-8857, Nº. 99. Número dedicado a los parques naturales, 47-50.

“Finally, it is necessary to evaluate the pieces exhibited, beyond the considerations of their joint presentation, which is already historical. I order them according to the date of birth of the artists, since, except in unusual circumstances, they mark their plastic prominence.
The most senior were Julio González (b. 1876) and Pablo Gargallo (b. 1881), both of whom grew up in the very rich breeding ground of first modernist and then noucentista Catalonia. The former’s Seated Woman No. 2 (1935-37) is a good representative of the iron and formal research he carried out after the plastic revival brought about by his contact with Picasso at the end of the 1920s”

Pérez Reyes, C. (1996). Reflexión sobre lo visto y lo vivido. En A. Carnero, D. Duque, & C. Schwartz, Iª Exposición Internacional de Escultura en La Calle (págs. 65-76). Santa Cruz de Tenerife: Cabildo Insular de Tenerife. Área de Cultura. ISBN: 84-87340-63-6

“The Museum of Modern Art of Barcelona loaned a bronze copy of the iron original made by Julio González between 1935-37, Seated Woman No. 2. González evokes the atmosphere in Paris between the wars. Talking about him means talking about Modigliani and Brancusi, with whom he had a sincere friendship; it means talking about Picasso and their close and fruitful collaboration during the 1930s; it means talking about Torres García, who led him to make contact, in 1929, with the Cercle et Carré Group, where he met Vantongerloo, Mondrian, Leger, Arp… it means talking about a new age of iron for sculpture that began after his apprenticeship in the technique of autogenous welding, the only one he lacked to become the most skilful metal sculptor; it means, in short, talking about one of the greatest sculptors of the 20th century and of all history, whose mark and contributions have nourished several generations of artists, from American David Smith to the great Spanish forgers such as Chillida, Chirino or Pepe Abad.”

Fernández Lomana, M.A. (1996). De la conmemoración al homenaje. En A. Carnero, D. Duque, & C. Schwartz, Iª Exposición Internacional de Escultura en La Calle (págs. 87-108). Santa Cruz de Tenerife: Cabildo Insular de Tenerife. Área de Cultura. ISBN: 84-87340-63-6