The fourth tome of Julio González’s new catalogue raisonné has been released. It covers his production from 1925-1933, a decisive time for his work. Indeed, it is during these years that González decides to abandon painting and to devote himself entirely to sculpture, his true vocation. After the publication of a first catalogue raisonné devoted to his sculpture (Jörn Merkert, 1987) and other volumes focused on his drawings (Josette Gibert, 1975, Galerie de France, 1993), this new catalogue raisonné will assemble the entirety of González’s oeuvre: painting, objets d’art, sculpture and drawing.
The author of this monumental work is the eminent art historian Tomás Llorens, a specialist on González having served as director for numerous prestigious museums, including the IVAM Centre Julio González, the Museo Nacional Centre de Arte Reina Sofia, and the Museo Thyssen-Bornemisza. The catalogue is edited by the Fundación Azcona. This volume is the fourth in a series of six that will cover the entirety of his artistic production.
This work sheds new light on the artistic collaboration between González and Pablo Picasso which takes place between 1928 and 1932, when Picasso calls upon his long-time friend and colleague to teach him his revolutionary autogenous welding technique to create a metal sculpture for Apollinaire’s funerary monument.
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