193:. Both sculptures, as well as both plaster and bronze versions, are the same size: 37.2 × 19 × 15.2 cm. When viewed together, the two arms create the illusion that they are from the same body reaching out into space. The way the fingers are spaced out creates a sense of urgency. Emotions like anger, despair, terror, and confusion are evoked by the position of the hands. This is echoed by the direction the two sculptures are intentionally installed, and by the inconsistent surface level the artist uses to create the arms, hands, and fingers. These elements together interpreted within the historical context expresses a clear reaction. As scholar Vicente Aguilera Cerni suggests, the last sculptures cast by Julio González are reminders of "man’s right to exist without the threat of terror and destruction, in security and dignity."
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drawings and plaster castings. The art produced during the last two years of his life are testimonies to the suffering and despair González felt towards tyranny and war. His last casts suggest the extent of despair and terror he felt and witness; these include the
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González created between 1940 and 1942, embodies the artist's own feelings towards the injustice of war. By 1942, the artist witnessed the destruction of his native country through the
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is when the bronze sculpture was added to the permanent collection in 1973 by the donation of his daughter, Roberta. Roberta González did not donate the plaster sculpture of the
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34:, bronze cast, Museu Nacional d'Art de Catalunya, donated by Roberta González, daughter of the artist, 1972; admission, 1973
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collection currently. It is unclear how many bronze casts, and by whom, were created after the artist's death.
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It is unclear where the sculpture was between 1942 and 1972. Very little is written about
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114:, created in 1942, the year of his death. This work of art was created as a
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The Corpus
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324:. Spain: Generalitat Valenciana Conselleria de Cultura. pp. 15–52.
221:, she donated the plaster copy to Galérie de France, Paris. There is a
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130:. For example, the other monumental sculpture created in this period,
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189:. This bronze sculpture is installed next to a separate sculpture,
278:. Barcelona: Museu Nacional d'Art de Catalunya. pp. 295–297.
306:. Barcelona, Spain: Ediciones Poligrafa, S.A.- Balms. p. 44.
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122:. It is unclear if the when or if the artist cast the final
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Julio González: Institut
Valencià d’Art Modern Collection
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is currently displayed in the modern art section of the
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Julio Joan
Roberta Gonzálezz: Interario de Una Dinastia
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Altar frontal from La Seu d'Urgell or of The
Apostles
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Sculptures in the Museu
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322:Julio González: En La Collecion de L'IVAM
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339:. Milano: Electa, Spa. pp. 332–337.
168:La Montserrat Shouting, Abstract Figure,
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276:Museu Nacional d'Art de Catalunya Guide
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250:The Collection: Julio Gonzalez
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578:Virgin of the Consellers
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335:Rowell, Margit (1987).
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252:. Museum of Modern Art
246:"Museum of Modern Art"
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366:January 19,
256:January 21,
178:Description
132:Head of the
95:, Barcelona
814:Categories
700:Desolation
661:Saint Paul
233:References
215:catalogues
197:Provenance
163:figurative
128:posthumous
777:A Romance
735:Cala Forn
124:sculpture
68:sculpture
787:See also
170:and the
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141:Context
81:Subject
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728:Paloma
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120:bronze
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73:Medium
40:Artist
393:2016
368:2016
280:ISBN
258:2016
227:IVAM
84:hand
65:Type
57:1942
53:1942
50:Year
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