Born in 1910 in Cerecinos de Campos, Zamora, Spain, Baltasar Lobo showed an amazing talent for sculpture from a very young age, which he developed through an apprenticeship. He completed training in the workshop of artist Ramón Núñez, where he acquired skill in the art of carving.
In 1927, he entered the Academy of San Fernando through a grant from the Provincial Council of Zamora but abandoned his studies three months later, having already mastered technique and thus bored by theoretical teachings.
In March 1929, an exhibition of the works of Gris, Miró, Picasso, Hugue, Cosio, Bores and Dalí at the Botanical Garden of Madrid made a great impression on him. It was not until 1933, however, that his work began to change due to the entrance in his life of Mercedes Guillén, as well as the social and cultural upheaval of the times. His visits to an archaeological museum also made an impression on him, and he began to depart from his academic roots.
In 1938, his workshop was destroyed during the Spanish Civil War. In the spring of 1939, he arrived in Paris, where, with the help of Picasso, he met some of the most important figures of the moment including Julio González, Pevsner and Henri Laurens. His contact with the avant-garde gave rise to corresponding stylistic swings.
In 1946, he enjoyed his first vacation, which allowed him to contemplate the subject of mothers and children. This was the origin of a very important series, maternities, in which he expressed movement, play, freedom, tenderness and the surprising contrasts between stability and dynamism.
Beginning in the 1950s, his work became more extreme, approaching the limits of abstraction.
In the 1960s Arp and Brancusi became his main influences, and some of his works became more conceptual. His intense search for modernity still featured the female nude as the constant point of reference.
In the 1970s, his works developed a new characteristic, movement, achieved by seemingly casual ripples which gave his sculptures extraordinary energy.
His extraordinary series of maternities and torsos in which he approaches abstraction, renounced his classicist obsession, cited, and in many cases surpassed , the best of his contemporaries.
He died in Paris in 1993 at the age of 83.