1910 - 1993
Maternité, Esquisse Caracas, sur socle, 1986
Signed and numbered 'Lobo EA 1/4'; stamped with foundry mark 'Susse Frères Paris'
Conceived in 1986 and cast in 1989 at Susse Frères, Paris in an edition of 4 plus 4 artist's proofs and 4 H.C.
30 3/4 x 31 1/2 x 16 1/2 in, 78 x 80 x 42 cm
Baltasar Lobo returned to the theme of the mother and child throughout his career, focusing upon the essential intimacy and affection in this central human relationship. Much like Henry Moore...
Baltasar Lobo returned to the theme of the mother and child throughout his career, focusing upon the essential intimacy and affection in this central human relationship. Much like Henry Moore and Barbara Hepworth’s interpretation of the subject, the mother and child evoked a sense of new life for Lobo and offered a means to explore the expressive power of mass and line. Though Lobo and his wife never had children of their own, the Spanish sculptor’s celebration of motherhood in this body of work captured a poignant sense of truth.
In the present sculpture ‘Maternité Esquisse Caracas, sur socle’, Lobo edges away from the sensual curves and supple forms of the human body to embrace a visual language of violent edges. The limbs of the woman and the child are simplified into stark geometric forms with sharply delineated contours. The harsh edges of ‘Maternité Esquisse Caracas, sur socle’ particularly reference the violence of iconic Surrealist sculptures such as Alberto Giacometti’s ‘Woman with Her Throat Cut’, which explored unspoken urges and fears of our subconscious.
Lobo portrays the mother in this sculpture in a languid reclining position, her body rooted to the ground. This immediately contrasts to the dynamic pose of the figure she lifts her child aloft with both hands and one raised knee in a burst of exuberant energy. Her gesture is triumphant and elated, but also protective: her arms are connected as if umbilically to the child, whose hand is clasped tightly in hers. Much like Moore, Lobo shows the mother as the eternal guardian over her child, unassailable and absolute as a unit.
Lobo began to create sculptures of the reclining female figure lifting her child in the air as early as 1946. This version relates directly to the sculpture ‘Maternité (esquisse pour Caracas)’ conceived and cast in 1953 as a preliminary study for the monumental sculpture presented to the Central University of Venezuela in Caracas in the same year.
Private Collection, Paris
Linz, Neue Galerie der Stadt Linz, Lobo: Skulpturen, Zeichnungen, 4 June - 8 August 1992; Tübingen, Kunsthalle Tübingen, 22 August - 4 October 1992, p.16, no.50, illus. p.26 (cast not specified)
Boca Raton (Fl.), Freites Revilla Gallery, Lobo, 1993
Caracas, Galeria Freites, Baltasar Lobo, retrospectiva, 23 May - 13 June 1999, no.33, illus. in colour pp.4 and 105 (cast not specified)
Paris, Jardin des Tuileries, Pavillon des Arts et du Design, Baltasar Lobo sculptures, 24 - 28 March 2010; Paris, Galerie Hopkins, 30 March - 30 June 2010, no.6, illus. in colour p.18 (cast EA 2/4 exhibited)
This work is recorded in the Baltasar Lobo archives of Galerie Daniel Malingue under no.8614