Baltasar Lobo

Femme à sa toilette
Femme à sa toilette, 1947 Signed, dated and inscribed ‘Lobo/Paris 1947’ (lower right) Charcoal, ink, and wash 49.5 x 32.5cm

Dokumente / Zertifikat:

The authenticity of this work has kindly been confirmed by Galerie Freites.

The sculptor and draftsman Baltasar Lobo was a leading Spanish artist in the international ‘School of Paris’ during and after the second World War. He began to sculpt professionally at the age of 12, assisting in the creation of religious images at a workshop in Valladolid.

By 1927, he was studying at the Fine Arts Academy in Madrid, but left to pursue independent studies, and became particularly interested in ancient Iberian sculpture. A leftist, Lobo fought against the fascists in the Spanish Civil War, and went into exile in 1939.
Lobo and his wife soon settled in Paris, where the sculptor became close to Picasso, Lipschitz, and particularly Henri Laurens. The present sheet dates from 1947, during the critical post-war period of Lobo’s career. In 1945, his work appeared in the Maîtres Contemporains exhibition at the Galérie Vendôme, along with works by Picasso, Matisse, Léger, and Laurens, and for the rest of the decade, Lobo continued to show work in important group exhibitions in Paris and Oslo, Brussels, Zurich, Luxembourg, and Tokyo. His interest in representing women, either as a single figure or in mother and child groupings, took definitive shape during these years.

The simplified, rounded forms of Femme à sa toilette are characteristic of Lobo’s postwar- period works in sculpture and on paper. The figure’s volumes seem almost to exceed the confines of the sheet, as if she were assuming the stature of a monumental sculpture. The facial physiognomy, sculptural forms, and monumentally suggestive mise en page of this sheet are comparable to those of contemporaneous drawings by Lobo, such as Femme Espagnol, which was sold in the Paris art market in 2010.

Inv.Nr 1265


Figure reposant, 1985 Signée Lobo Sculpture en marbre blanc de Carrare 22 x 36.5 x 21 cm



Galerie Nathan, Zürich Collection privée, Suisse


Galerie Nathan Zürich, 1985, Baltasar Lobo Scultures et dessins, Nr. 24 Royan Centre d’Arts Plastiques, 10.06. – 24.09.1995, p. 49


Galerie Nathan Zürich, 1985, Baltasar Lobo Scultures et dessins, P. 19, Nr. 24 Royan Centre d’Arts Plastiques, 10.06. – 24.09.1995, p. 49

Inv.Nr. 7161

Baltasar Lobo. El pueblo sigue adelante
El Pueblo Sigue Adelante! (The people go forward!), 1939.
Signed lower right, ‘Lobo,’ titled on verso Watercolor, ink and black chalk on paper 38.5 x 50 cm


This powerful work is one of a group of mixed-media drawings with watercolor that the sculptor and draftsman Baltasar Lobo created in 1939, all on the theme of the Spanish people’s resistance to fascism. It was in that year that Lobo, along with many other anti-facsists who had fought against Franco’s forces during the Civil War (1936-1939) were forced to flee Spain. The other known examples (Paris art market, 2011) are Te Vengaremos Espagna! (Spain, we will avenge you!), La Huido del fascismo (Fleeing fascism), both the same size as the present sheet, and the larger, more symbolic Esperanzy y Fermeza (Hope and persistence, 60 x 45 cm). The subjects and slogans indicate that Lobo made the drawings after fleeing Spain and eventually arriving in Paris in 1939.

Lobo settled in Montparnasse, in the former studio of the sculptor Naum Gabo, and became close to Picasso, Jacques Lipschitz, and particularly Henri Laurens. He would become a leading Spanish artist in the international ‘School of Paris’ during and after the second World War. In both his sculptures and drawings, simplified, monumental figures invoke the density and firm geometries of ancient Iberian sculpture. After the war, much of his work turned on mother-and-child themes.

The present sheet captures a crucial moment in Lobo’s practice and in the history of 20th-century art, when Lobo enlisted his dynamic, heroic figures to serve the popular anti-fascist cause. During the 1930s, most of Lobo’s work consisted of drawings for leftist magazines, pamphlets, and posters. Among the best known was the drawing Asesinos ! (Murderers!), published in 1937 (and which some historians believe was a source for Picasso’s Guernica of 1937). The watercolor drawings of 1939, though more elaborate, refined, and concentrated in their imagery, are in many ways a culmination of the graphic strategies that Lobo developed in his popular drawings of the preceding years, as he worked toward an image of the Spanish people— which he surely achieved in the present watercolor– as a massive, determined, unstoppable force.

Inv.Nr. 1257