The "Grande Vénus" by Julio González, of its total of only nine casts two are in possession of museums today, is an impressive document of the sculptors art-historic position between abstraction and Surrealism. The esthetic interplay of abstract forms is the first thing that strikes when viewing the sculpture without any previous knowledge: an organic harmony between filigree and massive elements that swings up in elegant motion. At the peak of the era it was made, the work comes as an entirely non-representational composition. On contrast, the title the artist uses inevitably triggers a chain of associations, since González identifies his abstract sculpture with Venus, the goddess of love. In the eye of the observer the forms turn into a sort of animal figure, into an oneiric creature that calls reminiscence of animal deities from shamanism or a strange kind of insect. With this work González interprets a key theme of all "classic" epochs since antiquity in a new and confusing manner- as abstract Surrealism.