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拍品專文
"In order to give his work the maximum of power and beauty, the sculptor is obliged to preserve a certain mass, to maintain the exterior contour. It is thus on the conception of this mass that he must concentrate his attention, his imagination, his science, his way of preserving all of its power. In this way the architect and the painter collaborate in sculpture, suppressing accentuating, and softening certain forms in favour of the mass. For example, in traditional sculpture a leg is formed out of a single block; but in sculpture using SPACE as MATERIAL, this same leg may be conceived of as SCOOPED OUT, designated by a single STROKE in a whole that likewise forms a single block. Traditional sculpture has a horror of holes and empty spaces. This new kind of sculpture uses them to their fullest potential, considering them INDISPENSIBLE material now." (Julio Gonzlez cited in, exh. cat., New York, The Solomon R. Guggenheim Museum, Picasso and the Age of Iron, New York 1993, p. 283).
In formulating his theory of 'drawing in space', Gonzlez did not just consider space an essential ingredient or a neglected building block of the sculptor's art, but, as he explains above, an element indivisible from mass. This concept is reflected not only by the fact that at the very same time he was formulating his most elaborate explorations and abstracted constructions in iron did he undertake the creation of a number of stone heads, but also most clearly in the manner of these heads' execution.
As the present work clearly shows, when carving into stone Gonzlez chiseled into the block in a highly incisive and almost cubist manner that intrudes into the mass of stone in a way that mirrors his notion of drawing in space with constructed iron.
Jeune fille nostalgique deliberately emphasises this quality by leaving the angular incisions of his chisel marks clearly visible on this distinguished woman's face so that they resemble miniature terraces that seem to have been carved into the rock face as if by some ancient civilisation. The unrefined nature of these marks conveys a raw power and sense of antique grandeur on the work that is further articulated by the classicism of the figure's pose and the archaic texture of the sandstone.
In formulating his theory of 'drawing in space', Gonzlez did not just consider space an essential ingredient or a neglected building block of the sculptor's art, but, as he explains above, an element indivisible from mass. This concept is reflected not only by the fact that at the very same time he was formulating his most elaborate explorations and abstracted constructions in iron did he undertake the creation of a number of stone heads, but also most clearly in the manner of these heads' execution.
As the present work clearly shows, when carving into stone Gonzlez chiseled into the block in a highly incisive and almost cubist manner that intrudes into the mass of stone in a way that mirrors his notion of drawing in space with constructed iron.
Jeune fille nostalgique deliberately emphasises this quality by leaving the angular incisions of his chisel marks clearly visible on this distinguished woman's face so that they resemble miniature terraces that seem to have been carved into the rock face as if by some ancient civilisation. The unrefined nature of these marks conveys a raw power and sense of antique grandeur on the work that is further articulated by the classicism of the figure's pose and the archaic texture of the sandstone.