Please use this identifier to cite or link to this item: https://www.um.edu.mt/library/oar/handle/123456789/82176
Title: Portrait painting in Malta from the late nineteenth century to 1950
Authors: Zammit Lupi, Theresa (1996)
Keywords: Portrait drawing -- 19th century
Portrait drawing -- 20th century
Portrait drawing -- Malta
Portrait drawing -- History
Issue Date: 1996
Citation: Zammit Lupi, T. (1996). Portrait painting in Malta from the late nineteenth century to 1950 (Bachelor's dissertation).
Abstract: Portraiture is a genre that deals with people, the intentions of people and the image they would like to project. It also speaks about the social set up of the time, the relation between the sitter and the artist, and about the artist himself. My desire to know more about these facts, has led me to this research and to record it in a coherent and chronological order as much as possible. The aim of my research has been to present the various styles of portrait painting that were practiced from the late nineteenth century to 1950. This phase in Maltese history is significant in that it was a period when Maltese artists began to emerge individually, as opposed to the previous centuries when the painter worked in a bottega or followed a particular school. Signatures and dates on paintings, together with clearer forms of documentation, make personal styles and trends more distinguishable. All chapters are divided in chronological sequence and wherever possible, the paintings have also been presented in that way. The first two chapters deal with Cali and Pisani whose artistic output spans before and after the turn of the century. The art of the Caruana Dingli artists, together with the importance of the School of Art, are discussed in the next two chapters. The last part of my presentation deals with the artists of the so-called Modern Movement who were possibly, the first true radicals in Maltese art. Limiting the choice has been an important decision on my part; the choice, both in terms of the period selected and the portraits discussed. It would have been interesting to include the portraits that belong to private collections, but very often people prefer not to disclose information about their possessions. Besides, there would have been too much material to discuss, considering that when dealing only with the pubiic collections, more than half the photographs were not even presented. These have been included in the appendix since so much added information would have otherwise been omitted. In fact, the rest of the photographs are all available for any further consultation or reference. The difficulties I encountered throughout my research were quite a few. Snapping photographs indoors, sometimes in dark parish vestries with very high ceilings, has not been easy. When it came, then, to Government departments and other public institutions, appointments, (postponed appointments), papers, signatures and telephone calls were endless. In spite of all the obstacles I came across, which at times were discouraging and caused delay in my research, there were also fruitful moments which were very revealing and exciting.
Description: B.A.(HONS)HIST.OF ART
URI: https://www.um.edu.mt/library/oar/handle/123456789/82176
Appears in Collections:Dissertations - FacArt - 1996
Dissertations - FacArtHa - 1995-2001

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