Julio Gonzlez (1876-1942)
Julio Gonzlez (1876-1942)

Tte penche

Details
Julio Gonzlez (1876-1942)
Tte penche
beaten copper
10 1/2in. (26.7cm.) high excluding base
15 3/4in. (40cm.) high including base
Executed circa 1910-12, this piece is unique
Literature
P. Descargues, Julio Gonzlez, Paris 1971, p. 11 (illustrated no. 3).
C. Goldscheider, Exposition Julio Gonzlez au Japon, Tokyo 1975 (illustrated no. 2).
V. Aguilera Cerni, Julio, Joan, Roberta Gonzlez- Itinerario de una dinastia, Barcelona 1973, no. 111 (illustrated p. 168).
J. Merkert, Julio Gonzlez, catalogue raisonn des sculptures, Milan 1987, no. 5 (illustrated p. 21).
Exhibited
Paris, Muse Nationale d'Art Moderne, Julio Gonzlez, February-March 1952, no. 1 (illustrated p. 9).
New York, MoMA, Julio Gonzlez, February-April 1956, no. 1 (illustrated p. 8). This exhibition later travelled to Minneapolis, The Minneapolis Institute of Arts, May-June 1956.
London, Tate Gallery, Julio Gonzlez, September-October 1970, no. 9 (illustrated p. 9). This exhibition later travelled to Montpellier, Muse Fabre, November 1970-January 1971.
Frankfurt-am-Main, Stdtische Galerie im Stdelschen Kunstinstitut, Julio Gonzlez 1876-1942 Plastiken, Zeichnungen, Kunstgewerbe, June-August 1983, no. 25 (illustrated p. 56). This exhibition later travelled to Berlin, Akademie der Knste, September-October 1983.

Lot Essay

This early repouss head displays all the consumate metal-working skills that won Gonzlez so many prizes for craftmanship and such esteem from his colleagues. Executed circa 1910-12, this lovingly crafted portrait head has been delicately beaten into its present shape from a single sheet of copper. With masterly control and great attention to the slightest of surface details, Gonzlez has wrought out of this soft metal a sensitive and somewhat impressionistic portrait.

Tte penche dates from the period of Gonzlez's brief first marriage to Jeanne Berton. Jeanne, the mother of Gonzlez's daughter Roberta, divorced Gonzlez after only three years of marriage in 1912, leaving Roberta with her father and his family. During most of this time, Gonzlez was separated from his mother and sisters who had returned to Barcelona. Gonzlez would continue to live with his mother and his two sisters, Pilar and Lola, for most of his life along with his companion and later second wife, Marie-Therese. Gonzlez's inclination towards using the women around him as the subjects of his sculpture is one of the central features of his oeuvre and considering the absence of his family during the period in which the present work was made it is very probable that this subtle and impressionistic repouss head is a rare portrait of Jeanne.

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