Commentary

From the ethereal to the monumental, sculpture by Enzo Gallo consistently displays three outstanding characteristics. Illustrations in this book, although only a sampling of the extensive body of his work, serve as an introduction to his superb plastic sense, exceptional craftsmanship, and remarkable versatility. For comparative purposes, it can be readily proffered that Gallo's exposure to the works of both Henry Moore and Jacques Lipchitz during his stay in Carrara no doubt made its mark. Some of Gallo's more biomorphic abstractions, such as "Nocturne" project a Moore-like figure and mood.

A number of Gallo's works parallel the visual concepts of Lipchitz, both in his earlier, more Cubist period, and later, when his quasi-representational work became much more expressive. As example~, see "Dynamism" a compact package of controlled energy, its elements echoed by their own shadows; "Librarian" whose sweeping planes and graceful lines offer a charming interplay between light and shadow; and particularly, "Genesis" whose rounded biomorphic forms, although more open in composition, are reminiscent of Lipchitz' "Prometheus Strangling the Vulture:'

Other influences which can be surmised in some of Gallo's works include, not surprisingly, those of the Italian Futurists and even Mexican realists, whose work he studied during his two trips to that country. As an example of the latter, compare the ambience of "Riposo'' with that of a Zuniga drawing.

But if we were to choose one artist whose style most closely parallels that of Gallo, it would be Ossip Zadkine. "Contemplation" "Opus" and "Revolucion'' are but a few examples of Gallo's work that belong to the same discipline as Zadkine's tightly organized curvilinear, elaborately decorative anthropomorphic figures

The frontispiece illustrates the "Chapel for Dr. Joaquin Balaguer" a nine-and-a-half-foot tall cast bronze work commissioned by the president of the Dominican Republic. Rich in the classical symbolism that Gallo frequently utilizes in his more representational sculpture, this demi-relief portrays Knowledge, holding the light of learning, leading a naked child who looks up to her exactly the way his followers must look to their perenially popular presidente.

The first work shown on the following pages, "Ritorno"' was awarded an Honorable Mention m the VIII Salon Nacional de Pintura y Escultura del Instituto Nacional de Cultura in Havana in 1956. Two years later, it was the only sculpture chosen to represent Cuba in the Mexican Biennial of 1958. This semi-abstraction, an early example of Gallds mastery of marble as a medium, also demonstrates his use of negative space. Note also how perfectly the concave area shown on the lower right follows the grain of the block, a deliberate instance of the artist allowing the material to dictate its ultimate form.

In "Revolucion" done in Havana in 1957, the tortured figures with guns were deliberately played off against a female torso to mitigate the negative, pessimistic ambience of this work. Reminiscent of the cubistic works of Zadkine, "Revolucion'' shares its characteristics of a multiplicity of viewpoints through the superimposition of planes.

Almost kinetic, "The Boxer" isolates as surely as a stroboscopic light the split-second impact of a blow on the boxers face, its flattened features a study in agonized motion. This is one of those highly successful works that occur in the oeuvre of an artist, never to be pursued stylistically, that defy comparison.

In "The Agony," Gallo contrasts the tranquility of a Christ resigned to his fate with an imploring, upturned face of Mary Magdalene. Even in 1958 the artist was able to suggest powerful emotions with a minimum of detail, paving the way for more abstraction in the future.

Morbid and depressing, "Four Fingers" reflects the sculptor's attitude during his last days in Havana. Its down-turned lines, the exaggerated length of the fingers with their rapier-like, hooked nails, suggest the destruction of the Cuba that Gallo had learned to love.

"Joy of Life" a total abstraction, summons a powerful sense of flowing energy in its interplay of elements. In "Merman" perhaps the outstretched arms of a supplicant, a pitifully small donation or a swooning companion are suggested, but the sculptor's subtlety offers no definitive answer.

In "Metamorphosis" a figure reaching to the sky stands poised in readiness for its next powerful move, its suggestion of ribs protruding gauntly from the deeply incised central area.

A totally different feeling is evoked by "Cat;' whose poised, perfectly balanced elements capture a dance-like motion and leaves it hanging as we await its next movement.

The translation of emotion and experience into versatile plastic form has been the unifying strain throughout Enzo Gallo’s development. In his odyssey from artisan to master sculptor, Gallo has carried with him design sense, dedication, and the disciplined, sure knowledge of his craft, to become a significant figure in contemporary sculpture.