Julio González (sculptor)
Biography
In Paris he associated with the Spanish circle of artists of Montmartre, including Pablo Gargallo, Juan Gris and Max Jacob. In 1918, he developed an interest in the artistic possibilities of welding, after learning the technique whilst working in the Renault factory at Boulogne-Billancourt. This technique would subsequently become his principal contribution to sculpture, though during this period he also painted and —especially— created jewellery pieces. In 1920 he renewed his acquaintance with Picasso, for whom he later provided technical assistance in executing sculptures in iron, participating to Picasso's researches on analytic cubism. He also forged the infrastructures of Constantin Brâncuși's plasters. In the winter of 1927–28, he showed Picasso how to use oxy-fuel welding and cutting. When their friendship re-established itself, Picasso and González collaborated on a piece called Woman in the Garden between 1928–1930. From October 1928 till 1932, both men worked together—and in 1932, González was the only artist with whom Picasso shared his own personal art carnet. Influenced by Picasso, the fifty-year-old González deeply changed his style, exchanging bronze for iron, and volumes for lines. González began to formalize a new visual language in sculpture that would change the course of his career.
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