Surrounded by the work of pivotal Modernist sculptors Jean Arp, Constantin Brancusi and Joan Miró, Lobo used the contours of the female form as a means to explore abstraction. However, while Lobo teetered on the very edge of abstraction, he maintained a constant connection to the balance, form and femininity of naturalism. Lobo explained, “My current work is, as always, figurative; which is to say that it is abstract. It necessarily begins with figuration. Simplified and synthesized, it becomes abstraction. By simplifying this reality I distil its emotion, coming to feel and communicate it more directly.” In ‘A La Source’, Lobo condensed the female form to its elemental twists and curves, inspired by the primitive art forms of early Iberian sculpture that also interested Picasso and Laurens. As with much of his work in bronze, Lobo worked intensely on the patina to allow his materials to complement the sensuality of the forms.
Despite the political turmoil which defined his early career, Lobo’s deeply poetic sculptures earned him international recognition and critical acclaim. During this late period Lobo’s work was finally exhibited in his home town in Zamora before a permanent museum was also established. In 1984 he was awarded the Spanish National Prize for Sculpture. Lobo’s sculptures can be found in major international collections including the Centro d'Arte Reina Sofia, Madrid; Musée d'Art Moderne de la Ville de Paris; Tokyo National Museum; Museum of Modern Art, Luxembourg; National Gallery, Prague; State Gallery, Stuttgart and Fine Arts Museum, Bilbao.
Private collection, USA
Joseph-Emile Muller & Verena Bollmann-Muller, Lobo. Catalogue raisonné de l'oeuvre sculpté, Paris, 1985, no. 518, illustration of another cast n.p.
Maria Bolaños, El Silencio del Escultor, Baltasar Lobo (1910-1993), 2000, no. 219, illustration of the smaller version p. 250