The Bozzetto for Crucifixion by Giorgio Preca

The Bozzetto for Crucifixion was done for an artwork that was initially commissioned for the Stella Maris Church in Sliema and later removed to be relocated in the Żejtun Church. This is an extremely important work in 20th century art in Malta, since it is one of the first examples of local art censorship that is widely documented by art historians and critics.

The Crucifixion was originally commissioned by a parishioner following the restoration of some paintings at the Stella Maris Parish Church. This work was initially hung and blessed by Archbishop Michael Gonzi on 17 April 1946 and was positively reviewed by Edward Sammut, as art of the time. Notwithstanding positive critical appreciation, this work turned into George Preca’s worst nightmare, since the parishioners disliked the work, and as soon as the original patron passed away, they requested for its removal from the church.

Eventually, in 1956 the painting was removed from its original placement at Stella Maris Church to that of Our Lady of Mercy at Bir id-Deheb, Żejtun, where it hung as the main altarpiece. The Malta Society of Arts, Manufactures and Commerce protested on its removal, as ‘an unjustified snub to Maltese artistic talent’ and suggested that it should be deposited at the Museum in Valletta, to no avail. However, this unfortunate painting was to achieve iconic status as a symbol of Maltese Modernism in the mid-1950s.

St Francis by Antoine Camilleri

The St Francis lino print by Antoine Camilleri is considered as his masterpiece in this medium, in fact a new edition of the same copper plate was reprinted in 2002. The sacred art piece represents one of the artist’s most cherished figures. In this composition, the saint is in kneeling position on a cliff edge with uplifted face and hands in prayer position. Camilleri’s interplay of horizontal and vertical lines creates strong contrasts which the artist nicely manipulated due to his mastery in line drawing and the use of the lino cut technique. The repetitive straight lines and textures give the viewer a tranquil but at the same time powerful impact which makes the viewer keep on looking at the details, which include birds, fish, and a small tortoise. Only an artist such as Camilleri could have created such harmonious, yet at the same impactful composition.

Another important aspect about this work is that unlike its original series, that was dated in 1974, this work is dated to 1973. According to one of the curators specialising in paper and printing, this is an early impression of the work even though it is not marked as an artist’s proof. However, more research is required especially when reading that Camilleri practised this technique only for a couple of years between 1971 and 1976.

These two works of art by key local artists of the 20th century are now part of the National Collection where museum visitors and researchers, following in-depth research by different curators that keep an eye open on the national and international art market, can further appreciate these artworks which were owned for years by private collectors.

Maria Micallef