BALTASAR LOBO | Pièce d'eau

Galerie Nathan, Zurich (acquired from the artist by April 1985)
Acquired from the above on July 24, 1986

Zurich, Galerie Nathan, Lobo—Skulpturen und Zeichnungen, 1985, no. 45, illustrated in the catalogue

Españoles universales siglo XX (exhibition catalogue), Galeria Theo, Madrid, 1975, illustration of another cast p. 27
Baltasar Lobo, Marmor, Stein, Bronzen, Zeichnungen (exhibition catalogue), Galerie Nathan, Zurich, 1975, illustration of another cast n.p.
Verena Bollmann-Müller & Joseph-Emile Müller, Lobo, Catalogue raisonné de l'oeuvre sculpté, Lausanne, 1985, no. 354, illustration of another cast n.p.
Susse fondeur & les maîtres du bronze, 150 ans au service de la sculpture (exhibition catalogue), Orangerie de Bagatelle, Paris, 1987, illustration of another cast n.p. 
Lobo (exhibition catalogue), Galerie Daniel Malingue, Paris, 1988, illustration of another cast in color n.p.
Lobo (exhibition catalogue), Museo de Arte Contemporáneo, Caracas, 1989, illustration of another cast in color p. 45
Lobo, Skulpturen, Zeichnungen (exhibition catalogue), Kunsthalle Tübingen, Tübingen, 1992, illustration of another cast in color p. 15
Baltasar Lobo: 1910-1993 (exhibition catalogue), Fundación Cultural Mapfre Vida, Madrid, 1997, illustration of another cast p. 28
El silencio del escultor, Baltasar Lobo (1910-1993) (exhibition catalogue), Junta de Castilla i León, Bolaños, 2000, illustration of another cast p. 223
Gaston Diehl & Federica Palomero, Baltasar Lobo, La Perennidad de la escultura: un problema primordial, Caracas, 2005, illustration of another cast p. 13
Garten (exhibition catalogue), Galerie Thomas, Munich, 2000, illustration of another cast n.p. 

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Pièce d'eau exemplifies Lobo’s fundamental fascination with the feminine form. Born in the small Zamora village of Cerecinos de Campos in 1910, he fled his home country in 1939 following the Spanish Civil War. Moving to Montparnasse, he soon formed close friendships with Pablo Picasso as well as fellow sculptors Jacques Lipchitz and Henri Laurens. Lobo became particularly close with Laurens, who offered him a job working in his studio and provided Lobo with his own space.

Working alongside Laurens and his reclining nudes, Lobo discovered his affinity for the female figure. This was an interest further inspired by the Iberian and Cycladic sculpture he first encountered on a visit to the Archaeological Museum in Madrid. Lobo parted from Laurens in the 1950s and transitioned toward his uniquely elegant and refined style inspired by the work of Constantin Brancusi and Jean Arp. The present work, with its soft curves and abstracted minimal form exemplifies the most desirable qualities of twentieth-century sculpture. Other casts of this work are included in the collections of the Museo Español de Arte Contemporáneo in Madrid and the Museo de Arte Contemporáneo, Caracas.