Julio González i Pellicer (21 September 1876 – 27 March 1942), born in Barcelona, was a Spanish sculptor and painter who developed the expressive use of iron as a medium for modern sculpture. He was from a lineage of metalsmith workers and artists. His grandfather was a goldsmith worker and his father, Concordio González, a metalsmith worker who taught him the techniques of metalsmith in his childhood years. His mother, Pilar Pellicer Fenés, came from a long line of artists. Julio attended Circol Artist Sant Luc, a Catholic school whose model of education was based on the medieval art guilds and influenced by the Arts and Crafts movement in England. Biography Youth Julio González Pellicer was born in Barcelona, on September 21, 1876. He came from a line of metalsmith workers; his grandfather was a goldsmith in Galicia. González's father, Concordio González, owned a workshop and as a young boy, González learned from him the techniques of gold, silver, and iron metalwork. He and his older brother, Joan González, both studied these techniques. Further, all three González children studied at Circol Artist Sant Luc, a Catholic school that remodeled its education on the medieval art guilds, influenced by the Arts and Crafts movement in England. In 1896, González's father, died. The family workshop was passed onto the older son, Joan. With Joan directly involved with the family workshop, Joan and Julio focused on their metalwork techniques and artistic aspirations. By the end of the century, both brothers began to frequent visiting Els Quatre Gats, a café which was the meeting point of many artists, especially those related with modernisme. It was there where they met artists like Joan Miró and Pablo Picasso. By the turn of the 20th century, Pablo Picasso and Julio González became great friends. González moved to Paris in 1902, but traveled to Barcelona several times in the early 20th century. At the Picasso Museum in Barcelona, their close friendship is verified by a drawn portrait, entitled "Julio González and the Robust Man Seen from Behind". They remained close friends until 1908; scholars do not know why their friendship ended at this time, but based on González archival materials, it appears to be related to previous dispute with Julio's brother, Joan. Paris In Paris he associated with the Spanish circle of artists of Montmartre, including Pablo Gargallo, Juan Gris and Max Jacob. In 1918, he developed an