Julio Gonzalez moved in 1900 to Paris, where his contact with the most innovative and powerful modern art led, as one would expect, to a vitalization of his own artistic conceptions. He arrived at a style of his own through his attempts to incorporate space and time into his work, and in so doing he changed the meaning of iron, endowing it with new constructive and expressive values. His work made a definitive impact on the development of contemporary sculpture. Though his output was small, his influence on such master sculptors as David Smith - - a distant pupil - - is testimony to the eloquence of his art. This ambitious publishing project (for which seven volumes are planned) focuses on the artist's complete oeuvre and is the result of the initiative of Tomas Llorens, former director of the Reina Sofia Museum, the Thyssen-Bornemisza Museum both of which are in Madrid, and the IVAM in Valencia, which holds over 400 works by Julio Gonzalez in its collection. Published in collaboration with the IVAM and the Azcona Foundation in Madrid.

This is the inaugural volume of a planned seven-volume catalogue raisonne on the Spanish sculptor Julio Gonzalez (1876-1942). The son of a goldsmith in Barcelona, Gonzalez studied painting and sculpture from an early age. Upon moving to Paris in 1900, he joined the company of fellow Spanish artists such as Juan Gris, Pablo Gargallo and Pablo Picasso. Today, Gonzalez is primarily known for his work in welded iron. Abstracted figures such his "'Monsieur' Cactus" (1939) show a connection to the Cubist sculptures of Picasso, with whom Gonzalez worked closely from the 1920s onward. Credited with introducing Picasso to welded sculpture, Gonzalez was also an important influence on the American Abstract Expressionist sculptor David Smith. This monumental project is published in collaboration with the Instituto Valenciano de Arte Moderno in Spain, which possesses the largest collection of Gonzalez's work.

With 70 paintings, sculptures, and works on paper, this is the largest survey of Torres-Garcia s work to be on view in an American gallery since Joaquin Torres-Garcia curated his own exhibition at the Sidney Janis Gallery in 1950. The book includes previously unpublished texts by the artist and iconic works that were kept by the family as representative examples of different moments in his career, first by the artist and later by family members who inherited them as a group. Torres-Garcia founded the avant-garde group Circle and Square (Arp, Kandinsky, Leger, Mondrian), where he was inspired by indigenous art from the Americas, Africa, and Oceania, which reinforced his vision of symbols and cosmic order.

This is a survey of Joan Miro's career from 1918, the date of his first solo exhibition, to his last works. Its guiding thread is the idea of "Earth", in its widest sense. For Miro, "Earth" meant his native region of Catalunya, but the word also functioned for the artist as a key to certain ideas and values characteristic of rural culture such as fertility, sexuality, fable and excess. In addition, it is related to the quest for the ancestral and the primitive. In pictorial terms, the earthly can be seen as a mistrust of form and a tendency to experiment with material. These stylistic features, which the exhibition aims to highlight, allow us to see Miro as the great forerunner of Informalism and Abstract Expressionism, trends that prevailed in mid-20th-century art.