El Profeta (The Prophet)

“Pablo Gargallo is present with “The Prophet” (“El Profeta”), one of the most important pieces of sculpture as it raises the problem of the incorporation of space and the figurative reform.”

Westerdahl, E. (1973). La 1ª Exposición Internacional de Escultura en la calle, en Santa Cruz de Tenerife. Quaderns d’arquitectura i urbanisme, ISSN 1133-8857, Nº. 99. Número dedicado a los parques naturales, 47-50.

“And it was at that moment that the miraculous Pablo Serrano’s magic wand reappeared, who managed to get his friend, sculptor Mark Macken –linked to the Middelheim Museum in Antwerp– to send an urgent copy of Gargallo’s The Prophet from Belgium, so that we could enjoy this undisputed jewel of contemporary sculpture for a few months in the García Sanabria Park.”

Saavedra Martínez, V. (1996). Historia de un acontecimiento. En A. Carnero, D. Duque, & C. Schwartz, Iª Exposición Internacional de Escultura en La Calle (págs. 11-24). Santa Cruz de Tenerife: Cabildo Insular de Tenerife. Área de Cultura. ISBN: 84-87340-63-6

Priceless support was provided by the Middelheim Museum in Antwerp, which donated its bronze replica of Pablo Gargallo’s The Prophet, a replica of the clay original left by the Aragonese artist on his death, for the Tenerife exhibition.

Hernández Perera, J. (1996). Dos décadas de Esculturas en la Calle. En A. Carnero, D. Duque, & C. Schwartz, Iª Exposición Internacional de Escultura en La Calle (págs. 25-54). Santa Cruz de Tenerife: Cabildo Insular de Tenerife. Área de Cultura. ISBN: 84-87340-63-6

The most senior were Julio González (b. 1876) and Pablo Gargallo (b. 1881), both of whom grew up in the very rich breeding ground of first modernist and then noucentista Catalonia. (…) The Aragonese artist offered his emblematic work El profeta (1933), in which his expressive and linear option is best manifested, which, as we know, alternated with his other, volumetric, and popular perspective. We could not have started off in a better way, although a Picasso piece from the 1930s was missing for the triad to be complete.

Pérez Reyes, C. (1996). Reflexión sobre lo visto y lo vivido. En A. Carnero, D. Duque, & C. Schwartz, Iª Exposición Internacional de Escultura en La Calle (págs. 65-76). Santa Cruz de Tenerife: Cabildo Insular de Tenerife. Área de Cultura. ISBN: 84-87340-63-6

“From Antwerp and coming from the Middelheim Museum through its director Mark Macken, three works arrived that were representative of the different renovationist efforts of figuration: The Prophet (1933, bronze), the great piece by P. Gargallo, the one he was never able to see cast in bronze due to lack of money, a shocking figure, stark, hollowed out and a good example of the process of demassification to which the inherited sculptural model was subjected.”

Fernández Lomana, M.A. (1996). De la conmemoración al homenaje. En A. Carnero, D. Duque, & C. Schwartz, Iª Exposición Internacional de Escultura en La Calle (págs. 87-108). Santa Cruz de Tenerife: Cabildo Insular de Tenerife. Área de Cultura. ISBN: 84-87340-63-6