Narrator: Picasso had no training in metalwork. So in the 1920s he began collaborating with artist Julio González, a skilled welder who helped him make this sculpture. Ann Temkin:
Ann Temkin: One thinks of Picasso so much in the cliché term of the "individual genius," but so much in his work had to do with the intensity of a relationship with another artist with whom he traded ideas and traded actual workmanship.
Ann Tempkin: Woman in the Garden is Picasso's largest sculpture … at that date. …It has a buoyancy, which Picasso is able to get from the lightness of that thin sheet metal and the rods of metal. … There's almost a weightlessness to those two … forms that come up into the air from the back, and the bits of hair coming off of the head, off those very skinny legs. And of course, since the work is painted white, it feels all the more lightweight, like you could almost just move it around as if it were paper or cardboard.
But in fact, it's very substantial. And the welding on it is extremely complicated to get these different parts of it to fit together and leaving all that space open at the same time. With a wonderful kind of easiness to what is front, what is back, what is left, what is right, this is a sculpture almost taking the attitude that "Wherever you look at me from is the right place to be looking at me."