If we let our minds wander to ancient times, we will find ourselves among the majestic marble sculptures of the Greek gods carved by the great Greek masters. In marble, the Greek sculptors found a beauty which belonged to the gods, and a durability that signified their eternal life.

Later, we find ourselves in the middle of the Renaissance, the period of rebirth that provided Western Civilization with the wisdom needed to get us to where we are today. During the Renaissance the art of making marble sculptures is again revived, this time by the great Italian masters, Michelangelo and Donatello. When we look at Michelangelo's work, we see that each figure has a spiral form, the artist's way of expressing eternity; Michelangelo believed that the route to heaven had a special shape. We also know that Michelangelo viewed his life as a struggle in the service of God, and as a result he chose marble as his favorite medium for sculpture because of its beauty, durability, and the struggle involved in carving it.

Carving marble is a struggle of man versus stone in search of beauty. Marble represents a tremendous challenge, where each stroke of the mallet must be carefully planned and executed. A stroke in the wrong place or with the wrong strength may cause the stone to crack, and all the work put into the sculpture is lost.

In modern times we find the great French sculptor Auguste Rodin making wide use of bronze as a medium for sculpture; yet he did not consider himself an accomplished sculptor until he mastered the art of carving in marble.

To carve marble, the artist must not only have a complete love for the art, but also a great degree of persistence, skill, and love for challenge, in order to overcome such a hard stone. Few artists accept the challenge that carving marble represents.

In Enzo Gallo we find a truly complete and accomplished artist, who masters all media for sculpture from wood carving to carving marble, and in the latter he finds himself at home.

Enzo, in the tradition of Michelangelo, accepts and enjoys the challenge that carving marble represents because his whole life has been a struggle.

As a young man, he left his native Italy to help in his uncle's marble business in Cuba, studied art, and finally became the youngest professor in the history of his Alma Mater, the Escuela Nacional de Bellas Artes San Alejandro in Havana. But when Castro came on the scene, he had to leave behind part of his family, his tools, and the sculptures in his studio. Though he came to the United States penniless and without a command of the English language, Enzo overcame these handicaps by hard work and disciplined living, and today he is again, as he was in Cuba, a leading artist-but his work is even more refined, more mature, and conveys an even more emotional message than before.

In Enzo we find a rebirth of sculpture, we find an artist who emulates the great masters, who-not afraid of tackling the hard task of carving marble-produces great pieces of art from a rough stone.

I have known Enzo since he was a student at the San Alejandro School of Fine Arts, and I have followed his career ever since. Today, I can say that Enzo has accomplished what he set out to be, a great artist. Enzos works are superb works of art, the envy of many artists who would like to imitate his works and style but who lack the skill, ability, and patience to do so.

In Enzos sculptures we find the eternal beauty of marble expressed with a romantic air, and a serenity which only the artist can add to marble, thus creating a combination that can hardly be matched by any other medium of sculpture. He is, however, a source of inspiration for others, and perhaps some of his students will emulate his teachings, just as sculptors like Michelangelo inspired their assistants.

He could be a guiding light for young, bold artists who fear no challenge, and who want to make their mark in the world of art.

Miguel G. Morales, PhD.
Associate Professor,
Milton College Milton, Wis.