Previously known as Department of History of Art https://www.um.edu.mt/library/oar/handle/123456789/3307 2026-08-24T03:50:49Z 2026-08-24T03:50:49Z Thake, Conrad https://www.um.edu.mt/library/oar/handle/123456789/148534 2026-08-19T05:59:25Z 2026-01-01T00:00:00Z

Title: John Loughborough Pearson and the Lady Hamilton Gordon chapel (1893–94) : Gothic Revivalism and eclecticism at Ta’ Braxia Cemetery, Malta Authors: Thake, Conrad Abstract: The subject of this contribution is the Lady Hamilton Gordon chapel at Ta’ Braxia Cemetery, Malta (1893–94), designed by the Victorian architect John Loughborough Pearson (1817– 97). Although Pearson’s ecclesiastical works in England, spanning an architectural career of over six decades, are well known, his memorial chapel in Malta, which together with St John’s Cathedral in Brisbane (1901–2009) constitute his only overseas works, has to date not been comprehensively researched. This contribution sheds light on the chapel’s historical origins, contextualising them within Pearson’s extensive corpus of Gothic Revival churches in England, while citing the Royal Mausoleum at Frogmore and the basilica of San Vitale, Ravenna as potential architectural models. A closely knit familial network featuring Lady Hamilton Gordon’s brother, George Shaw Levefre, his brother-in-law Arthur Hamilton Gordon, and the architect John Loughborough Pearson was the catalyst for the commission, design, and execution of the Ta’ Braxia chapel. This Shorter Notice also challenges but does not resolve the traditional attribution of John Loughborough Pearson as the sole designer of the Ta’ Braxia chapel. As the chapel was designed a few years before Pearson’s death, it could well be the case that his son, Frank Pearson (1864–1947), played a leading role in its design. This argument is further buttressed by drawing upon architectural similarities between the Hamilton Gordon chapel and Frank Pearson’s St Matthew-in-the-City Church, Auckland (1902–04), completed a few years later.

2026-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/148521 2026-08-18T08:47:52Z 2026-01-01T00:00:00Z

Title: The curatorial history of St. John’s Museum (1965-2001) : an analysis of museum planning, curatorial frameworks and audience experience Abstract: This dissertation examines the curatorial history and frameworks of a museum which is connected to an important node of Baroque art and architecture in Malta. This preface will deal with secondary data collection pertaining to macro scope of ecclesiastical museums, as well as the methodology used for micro elements such as engaging with the museum’s history and its collections. Publications on St. John’s Museum present a lacuna which this dissertation seeks to address. By contrast, publication on the governing institution, the St. John’s Co-Cathedral, is extremely strong and prolific, as well as the individual artworks that form part of its historic collection. Whilst the dissertation’s primary focus is on St. John’s Museum, given the physical and historic connection of the museum with St. John’s Co-Cathedral, curatorial and historic importance will likewise be given to the historic place of worship. Understanding the museum’s curatorial history and the artistic significance of the artefacts requires a strong engagement with their original context in the Co-Cathedral. In order to anchor St. John’s Museum in its museological context, engagement was necessary with the extensive literature on museum studies as a general field, and later, on a more appropriate level, with the literature on ecclesiastical museums. After anchoring St. John’s Museum within its museological context, it was also important to anchor it within the religious aspect. Being a museum pertaining to a Catholic place of worship, engagement with official statements of the Catholic Church regarding its museums was crucial. In this regard the Vatican’s digital library proved highly prolific and beneficial. Papers such as that written by Cardinal Francesco Marchisano (1929- 2014) on the subject, his Circular Letter dealing with ‘The Pastoral Function of Ecclesiastical Museums’ proved highly appropriate and was selected for the literature review. The next phase of engagement was the micro phase, that is, primary engagement with St. John’s Museum itself, its archives and artefacts. Given the fact that museum itself is currently under reconstruction, thus not available as a museum space, and likewise its artefacts are removed from their museological context (more on this below), the first phase of engagement was archival. Documentation such as minutes from the council meetings relating to the museum were viewed as well as photographs that document the museum’s collections and display. This archival research was necessary for piecing together and interpreting the museum’s curatorial approach through its history. The archives of St. John’s are kept in separate locations throughout the cathedral’s offices. Accessing them requires the assistance of an administrator, who himself had a hand in organising the archives across the years, and the sifting through and archival analysis takes place within the administrative offices of St. John’s itself. Other archives engaged with were the National Archives in Rabat as well as the Archbishop’s Archives in Floriana. Viewing the artefacts of St. John’s Museum presents a notable but surmountable challenge. St. John’s Museum is currently undergoing reconstruction; this process has been ongoing since 2017. Thus the museum space that the dissertation is engaging with is unavailable – as a museum space. The same is true of the artefacts. Key artefacts such as Ciro Ferri’s Reliquary as well as the silver collection were available for viewing in their current storage spaces. Thus satisfactory artistic engagement is possible. Difficulties arise with viewing these artefacts in a curatorial context. A key example are two of the highlights of the museum’s collection: the set of Flemish tapestries donated by Grand Master Ramon Perellos in 1702 and the Cappella Ardente of 1726. These key items are currently in storage and viewing them for artistic engagement alone is challenging; viewing them in a museum context is currently not possible. Thus, to mitigate these challenges it is necessary to engage with archival photographic evidence as well as engaging with the museum space. The ongoing works on St. John’s Museum do not significantly alter the museum’s architecture; with some notable exceptions such as the installation of the new Tapestry Hall as well as a dome built into one of its wings to accommodate the display of the Cappella Ardente. Thus it was possible, after close engagement with documentary and photographic archives, to engage with the museum’s original space to arrive at satisfactory conclusions. Another mitigating measure shall be interviews. Interviews with past curators and administrators within the museum – both from the civil and ecclesiastical departments –helped shed further light on curatorial thinking and methodology throughout the museum’s history. St. John’s Co-Cathedral, given its unique administrative nature, as well as its artistic cultural reputation, has been involved in many cultural as well as political debates across the 20th century. It is important, however, to engage with the discourse surrounding St. John’s Museum specifically. A fundamental element of this dissertation’s research question is to establish the museum’s fortuna critica both on the local artistic and ecclesiastical context – which was done within the proper parameters once engagement with similar museums is undertaken. The museum’s assessment of its successes needed to be engaged with in consideration of the local artistic and socio-historical climate. In this preface it has been shown how the research methodology for this dissertation presents its own unique sets of challenges and has laid out the methods used for data collecting both in the macro and micro context. This dissertation is focused on a singular space and whilst it is, to an extent, a comparative dissertation that seeks to anchor that space within a broader context, the research methods reflect the singularity of the dissertation’s focus. That is, a significant percentage of data collecting takes place in a limited space – mostly St. John’s archives. This is both a strength and a weakness of the methodological process, as has been discussed, and much of the mitigation will involve the theoretical framework, that is, by extending the focus on the socio-historical aspects of the museum, necessitating data collecting from a broader field, both locally and internationally. Description: M.A.(Melit.)

2026-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/148132 2026-07-20T09:33:45Z 2026-01-01T00:00:00Z

Title: Frank Portelli (1922–2004) : interior design for the hospitality industry in Malta : change and modernity Abstract: This dissertation examines the interior design practice of Frank Portelli, with a specific focus on his work for hotels and restaurants in Malta during the 1960s. It explores how Portelli achieved a synthesis between modern design principles and local cultural identity at a moment when Malta was redefining itself socially, politically, and visually following independence. Through these interiors, Portelli articulated a vision of modern Malta that was both outward looking and culturally grounded. His designs did not merely function as decorative settings, but as environments that embodied the aspirations of a society learning to experience modernity through designed space. Despite Portelli’s recognised status within Maltese art history, scholarly attention has largely prioritised his artistic production over his design work. Among the existing literature, Elizabeth Borg’s dissertation remains the most comprehensive study of Portelli’s career. Her research offers an in depth examination of his modernist style and situates him within the broader trajectory of twentieth century Maltese art. Importantly, Borg presents Portelli as a multidisciplinary figure, acknowledging his roles as painter, stage designer, and interior designer. However, interior design occupies only a limited portion of her study, as her focus necessarily centres on artistic production. As a result, Portelli’s interiors are discussed as secondary or supportive elements rather than as a central field of enquiry. This imbalance reflects a broader gap within Maltese cultural historiography. To date, interior design has rarely been addressed as a discipline in its own right or as a meaningful component of the country’s cultural history. While painting, sculpture, architecture, and decorative arts have received sustained scholarly attention, interiors conceived as complete and intentional environments have largely been excluded. Consequently, the evolution of spatial design in Malta remains poorly documented, despite its significant role in shaping aesthetic experience and social behaviour. One factor contributing to this lack of scholarship is the inherently ephemeral nature of interiors. Unlike architecture or painting, interiors are subject to continual modification. They are renovated, adapted, or entirely removed in response to changing tastes and functional requirements. In Malta, this process has been particularly pronounced. Few interiors from the 1960s survive intact, and Portelli’s projects are no exception. In many cases, only fragments or archival traces remain. This transience has discouraged sustained academic engagement, as physical evidence is often lost before it can be systematically studied. This situation is further compounded by a general underappreciation of interiors within Maltese heritage discourse. While the exteriors of historic buildings are frequently protected and celebrated, interiors are often perceived as temporary and replaceable. Once a space is considered outdated, it is typically the first element to be altered or erased. Such attitudes reflect a wider misunderstanding of design as superficial rather than as a significant form of cultural expression. The neglect of Portelli’s interiors therefore mirrors a broader tendency to undervalue designed space as a bearer of historical and artistic meaning. In response to these omissions, this dissertation positions Portelli’s interior design practice at the centre of the discussion. Rather than treating design as a minor aspect of his career, the study examines his interiors for the hospitality sector as a primary field of creative production. Through this focus, Portelli is reconsidered not only as a modern artist, but as Malta’s first professional interior designer, a figure whose work marked the emergence of design as a recognised creative profession on the island. By foregrounding interiors, the dissertation expands the understanding of Maltese modernism to include the spaces in which modern life was experienced, not merely represented. The study also addresses a broader gap in education and awareness regarding design history in Malta. While art and architecture are firmly established within academic discourse, interior design has rarely been approached with the same critical rigour. By analysing Portelli’s interiors as holistic works that integrate spatial organisation, materiality, symbolism, and narrative, this research argues for the disciplinary and cultural value of interior design. It proposes that interiors should be studied with the same historical sensitivity as paintings or buildings, as they encapsulate social aspirations, cultural identity, and material conditions of their time. The first chapter provides the historical foundation necessary to understand Portelli’s significance. It establishes the conservatism of Maltese interiors prior to his emergence and demonstrates how rare it was to encounter interiors driven by conceptual thinking rather than ornamentation. The chapter shows that Portelli introduced a vision in which space, material, light, and furniture were conceived as a cohesive unit, recognising interior design as a cultural medium capable of shaping behaviour and atmosphere. The second chapter examines his work for hotels, a context in which his ideas reached maturity. These projects, including the Meadowbank, the Plevna, and the Cote d’Or, reveal that Portelli conceived hospitality interiors as cultural ambassadors. Hotels introduced tourists to Malta and exposed Maltese citizens to modern leisure culture. Portelli therefore designed these interiors with a strong awareness of producing environments characterised by clarity of form, precise lighting and furniture that expressed a strong identity. The research also demonstrates that his hotel designs anticipated international trends towards immersive, experiential interiors. The third chapter focuses on bars, cafés, and restaurants. These spaces allowed Portelli to experiment more freely with atmosphere, narrative, and motif. The chapter argues that he understood entertainment venues as social theatres. His designs for places such as the Coleiro Wine Tavern and Dragut Bar and Restaurant reveal a clear understanding of how spatial arrangement, lighting, and sculptural elements influence social behaviour. The discovery of sketches featuring Flos lighting models in the early 1960s provides early evidence of his engagement with international design discourse long before such products were accessible on the island. The Dragonara, analysed in the fourth chapter, marks the culmination of Portelli’s capabilities and the project through which he fully realised his philosophy of immersive design. The chapter argues that this was not only a major commission but a cultural milestone in Malta’s post-independence identity formation. Through modern furniture and murals depicting Maltese folklore, Portelli produced interiors that projected an image of a modern yet culturally anchored Malta. This project also gave him the confidence to open Studio Portelli, a significant moment in Maltese design history, establishing the first full time practice dedicated exclusively to interior design on the island. The fifth chapter uncovers the processes behind Portelli’s work. Through interviews, archival material, and surviving drawings, this chapter reveals the working methods and collaborative processes that defined his practice. His coordination with craftsmen and draughtsmen demonstrates that his impact extended beyond conceptual design into the production of modern Maltese material culture. The chapter clarifies that Portelli demonstrated a strong understanding of architectural design principles, despite not holding architectural qualifications. Taken together, these findings require a revision of how Portelli is positioned within Maltese art and design history. Scholarship has traditionally framed him primarily as a modern artist, with his interior design work treated as a subsidiary aspect of his career. While Elizabeth Borg’s thesis remains the closest precedent, this study demonstrates that Portelli’s design practice must be understood as a central component of his creative identity rather than as a peripheral activity. This repositioning has important disciplinary implications. By examining Portelli’s interiors as a sustained and independent field of practice, the dissertation demonstrates that he should be recognised as Malta’s first formally established interior designer and as the figure who contributed to the professionalisation of the discipline on the island. Through his engagement with international design developments, Portelli combined artistic, craft-based, and architectural approaches within his practice, reflecting the multidisciplinary character of his work. Beyond questions of professional status, the research argues that Portelli’s work occupies an important position within Maltese modern design. By introducing modern ideas and adapting them to local contexts, his hospitality and entertainment interiors represent some of the earliest examples of modern interior design within Malta’s hospitality sector, exploring atmosphere, narrative, and spatial experience in ways that were still relatively uncommon in Malta at the time. Although nearly all these interiors have been altered or lost, their historical significance underscores the urgency of recognising designed space as an essential component of Malta’s modern heritage. The findings of this dissertation were made possible through a methodology that combines archival research, oral histories, site visits, photographic analysis, and design interpretation. Archival documents provide evidence of Portelli’s design intentions, including technical drawings, material specifications, and correspondence. Oral histories with Henri Portelli, Reno Psaila, and Alfred Mizzi offer insight into studio practice and collaboration. Site visits and photographic evidence allow for the reconstruction of interiors that no longer survive in their original form. Methodologically, the dissertation is grounded in archival research and visual analysis. Each project is examined through surviving documentation and situated within its social and cultural context. Formal analysis considers composition, materials, furniture, lighting, and spatial organisation, while conceptual analysis addresses symbolism, narrative intent, and expressions of identity. Through this approach, Portelli’s interiors are understood as complete experiential environments rather than isolated design elements. The research also adopts a comparative perspective, positioning Portelli’s work in dialogue with contemporary international design movements. While remaining focused on Malta, the study acknowledges Portelli’s awareness of broader European developments through his exposure to international exhibitions such as the Biennale and the Triennale. By examining how these influences were adapted rather than directly replicated, the dissertation highlights Portelli’s ability to translate modern ideas into a design language responsive to local cultural expectations. The aims of this dissertation are therefore threefold. First, it seeks to document and reconstruct Frank Portelli’s interiors for the hospitality industry during the 1960s through archival material. Second, it analyses how these interiors reflected and contributed to Malta’s post-independence modernisation, functioning as sites of cultural expression and social transformation. Third, it repositions Portelli within Maltese art and design history, recognising him not only as a modern artist but as a pioneering interior designer whose work bridged art, design, and lived experience. Description: M.A.(Melit.)

2026-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/148131 2026-07-20T09:27:51Z 2026-01-01T00:00:00Z

Title: Exploring sustainable methods as fine arts practice, inspired by Maltese coastal nature Abstract: This research investigates how sustainable practices can be meaningfully integrated into contemporary fine art. It examines sustainability not only as a response to ecological crisis, but as a framework that reshapes artistic processes, materials, and methods of production. The study is grounded in a practice-based methodology that combines site-responsive research, material experimentation, and digitally mediated processes. The research is supported by visual documentation, including diagrams and digital renderings that map the development of the exhibition’s curatorial layout. These materials function as reflective tools, tracing the evolution of spatial decisions in relation to material sustainability, site specificity, and audience engagement. The practical component of the research was developed through walking-based engagement with Malta’s coastal landscape, including the collection of raw materials and the production of natural pigments. These practices are examined in relation to their historical context and contemporary ecological implications. In parallel, the research critically explores digital practices such as photography, image generation, and three-dimensional visualisation, addressing the environmental and ethical tensions associated with technologically mediated artmaking. The study situates these practices within a broader theoretical and historical discourse on sustainability in fine art, drawing on the work of environmentally engaged artists and critical scholarship. By comparing material-based and digital approaches, the research questions how contemporary artists might negotiate responsibility, awareness, and experimentation within their practice. Rather than proposing a definitive model of sustainability, this research presents a reflective and situated investigation that highlights the possibilities and limitations of sustainable approaches in contemporary fine art. It contributes to ongoing discussions on how artistic practice can engage critically with ecological concerns while remaining materially and conceptually responsive. Description: M.A.(Melit.)

2026-01-01T00:00:00Z