Task 3: Traditional Maltese Art and Design

Through years of invasion and foreign rule, Malta has adopted many traditions and values, that over the years, all developed and shaped this islands’ culture to what it is today.

L-għonnella

In the 19^th and 20^th centuries, women from all social classes used to wear clothes that covered up their whole bodies.  Although the style was similar from one social class to another, one can still see many variances in the clothing worn by the noble and those worn by the peasants.

Usually, woman from upper social classes wore the għonnella, or as it was also referred to as a faldetta. The għonnella was basically a women’s head dress and shawl, that covered the head but not the face. It was generally made out of dark coloured cotton or silk fabrics and worn in all weathers. In summer, the għonnella kept the women cool by catching breeze in the broad rounded frame that was starched stiffly, by means of a board or a whalebone. However, in inclement weather, it was usually adjusted to wrap more tightly and closer to the face. The wealthy also started to wear white or other bright coloured għonnielen for special occasions. 

Figure 1. Charles Frederick de Brocktorff – A Maltese lady in the Faldetta, waiting before the Harbour Master’s garden.

Figure 2.Michele Bellanti- The Faldetta

Figure 3. Maltese Ladies



On the other hand, the country side women wore the ċuqlana. It is said that the ċuqlana preceded the għonnella and in fact they are quite similar in style but not in quality. The ċuqlana was just an outer garment, worn on the head that covered only the back and the sides of the body. It was usually blue or another dark colour. (Maltese History & Heritage, 2013)

Figure 4. Carlo Camilleri
A Peasant wearing the ċuqlana and geżwira

Figure 5. Painting by Arthur Diehl (1899)

The għonnella was omnipresent throughout Malta, worn by almost all adult Maltese women, for centuries.  However, by the middle of the 20^th century, following the Second World War, it started to decrease popularity rapidly, and more Victorian clothing started to make the scene, especially on the wealthy. By the 1970’s it was almost desuetude and only seen among older members of the Maltese lay missionary movement (M.U.S.E.U.M). (Maltese History & Heritage, 2013).

This watercolour painting is showing different clothing in the beginning of the 20th century. One can see women without head dresses, Victorian clothing and different hats.





I personally love the għonnella because it used to distinguish the Maltese women from the rest of the world. 

However, even though the għonnella was unique to the Maltese Islands, we can still see similar clothing in other cultures around the world, especially in the East Hemisphere.

Some examples include:

Figure 6. The Chador. Worn by Muslim women

Figure 7. Saris worn by Indian women

Figure 8. Serbian Folk Dress. Similar to what Maltese peasants wore 
underneath the għonnella in the 19^th century.

Id-dgħajsa tal-Pass

Over time, the Maltese boat have evolved from working with oars, to sails, until the engine was invented and took their place later on. During its evolution the boat adapted technological ideas that helped to shape its characteristics.

Id-Dgħajsa tal-Pass used to serve as means of water transport. The voyages consisted of passengers embarking from one shore to another, primarily, in the Grand Harbour area, as well as Sliema.

Figure 9. Dgħajsa tal-Pass

The design of ‘id-Dgħajsa tal-Pass’(Passenger boat) consisted of a very high bow stem and stern. This helped the boatman to curtail the boat at quayside by holding the bow stem in his hand, whilst the passengers embarked the with ease. In the harbour all Maltese boats worked with oars, so they didn’t cause big waves. This offered security to the passengers aboard. The boat took about 6 passengers at a time, and as most work took place at night, a lantern used to be put at the top of the stern stem and another at the bow stem. This way, ships entering the harbour would see the boats crossing and avoid collision (Pulè, 2000)

Figure 10. The design of the passenger boat

Back then, this was a very popular way to go from one city to another, however, the boat owners never restrained themselves from decorating the boats to attract more passengers. The decorations usually included engravings and also the Navy ships emblems.

Figure 11. Decorations that could be found on a passenger boat

Figure 12. Decorations that could be found on a passenger boat

The construction of the Maltese boats, is a part of our Island's history. It developed around other crafts and skills of the Maltese and Gozitan littoral communities. The boats themselves are a wonder when considering the tools they had available in those days. This shows the dedication and the great skills craftsmen had before everything was industrialised and machine made.
Id-dgħajsa tal-Pass looks very similar to the Venetian gondolas, people use to get around the canals.

figure 13. The Venetian Gondola

Figure 14. The Maltese Passenger boat

References
-Maltese History & Heritage, 2013. The Maltese Faldetta - Ghonella. [online] Available at: <https://vassallohistory.wordpress.com/maltese-crafts/the-maltese-faldetta-l-ghonnella/> [Accessed 16 Jan. 2016].
-Pule`, C., 2000. Qxur, Biċċiet, u Opri tal-Bahar. Malta: Pubblikazzjonijiet Indipendenza.
-Society, N., 2016. Global Fashion Photos -- National Geographic. [online] National Geographic. Available at: <http://travel.nationalgeographic.com/travel/countries/global-fashion-photos/#/fashion-monk-robe_12350_600x450.jpg> [Accessed 18 Jan. 2016].

-Zammit, V., 2005. Il-kostum Malti u d-drapp fl-istorja ta' Malta. Pietà: Pubblikazzjonijiet Indipendenza (PIN).

Task 1: Art

Art

Visits:

-National Museum of Fine Arts Malta -Belt Valletta - 20/10/2015

-Antoine Camilleri Exhibition - St. James Cavalier - 21/10/2015

As Malta became a British colony, many visitors on the Orient and the Tour of Europe started to sail into the Grand Harbour. Amongst these visitors were artists who during their stay in Malta started to include Maltese landscape in their artwork. The main style of Maltese landscape paintings communicated a sense of atmosphere, possibly an emotionally-charged one, as well as visual information on the natural feautres and man-made features, which predominantly included the cities that surrounded the Grand Harbour and the fortifications.

                                   Grand Harbour by J.M.W Turner (1830). Watercolour.

In the National Museum of Fine Arts, one can find a collection of artworks on display from the last three centuries that feauture themes such as Maltese landscape. Perhaps, one of the most important landscape paintings is known as ‘Grand Harbour’, which was executed in 1830 by the English Romanticist landscape painter, J.M.W. Turner.

The painting depicts the view of the Grand Harbour from Point Ricasoli. On the foreground we can see some fishermen pulling in their daily catch, while the middleground is featuring some boats which probably belonged to the same fishermen. Last but not least in the background we can see some ships and the fortified city of Valletta.

The composition of this painting is an unbalanced, asymmetrical one. It is made of different forms, mostly organic, and it gives an illusion of depth by the overlapping of these forms and also the range of form sizes. The artist has used a wide palette of mostly cool, plain, subdued watercolours, creating moderate contrasts and emphasising certain parts throughout this piece.

It is a known fact that Turner has never visited Malta. He based this painting on the work of Gorge Philip Reinangle. Its function was to serve as an engraving basis in Finden’s Landscape Illustrations. The book included scenes of places visited by the foremost English Romantic Poet, Lord Byson.

Despite the lack of detail in certain parts of the artwork, Turner has managed to paint a very realistic scene that back in the day, one was able to see on a day to day basis.

                                                           Storm in the Grand Harbour. Oil on Canvas

Another painting found on display in the National Museum of Fine Arts, is the one above, titled ‘Storm in the Grand Harbour’ by Thomas Lyde Hornbrook (1780-1850). It is uncertain whether or not the painting was done in Malta or if it is based on another artwork.

The painting is depicting a fleet caught in a storm whilst making its way into the Grand Harbour. On the land we can see some local people, some of which seem to be aware of the danger by pointing at it, while others look calm and almost unaware of their surroundings.  The big waves crashing against the land, the tilted ships and the pointing people all portray the element of movement.

The composition of the painting is mostly made up of organic forms, formed by a mixture of straight and curved lines. By a range of form sizes and the overlapping buildings, an illusion of depth is created. The colours used are cool and subdued, quite similar to the ones used in ‘Grand Harbour’ by Turner. The only extreme contrast in painting is seen on the guarding walls that was caused by light coming from the top left. At the expense of other things, the light is emphasising the storm, which is the main interest in this painting.

This painting makes me feel panicked and anxious, to find out if it ended in tragedy.

 ‘Portrait of Marthese’ was painted by Antoine Camilleri in 1967. Marthese, the little girl that is depicted in the painting, was the artists’ daughter.

In the painting the child is sitting down on a stool, inside a house or possibly a studio. Marthese has a look of innocence and in her hands she is holding a toy Pinocchio. The portrait is full-length figure and the child, being the main interest is situated in the middle of the painting, taking about half of the space.

The composition is rather simple. The two main forms featured are made up of a mixture of straight and curved lines.

The forms are organic (child and toy) and geometric (stool and frame). The artist used a limited palette of cool colours, mostly offering different hues/values of greens and blues. A light coming from the left is

creating a shadow at the bottom right corner of the   painting. The shadow is of the girl and stool she is sitting on.

  

 Portrait of Marthese.80x50cm. Oil on Board

  During his artistic career Antoine Camilleri painted many portraits of his wife Teresa. In this particular portrait, Teresa is depicted on their wedding day. 

Teresa is wearing a beautiful white gown patterned with crosses and in her hands she is holding a bouquet of white flowers close to her chest.

Being the main interest, the bride is taking up most of the space in the portrait, while the rest of the background is depicting other scenes from the ceremony, surrounded by family and close friends.

The organisation of the painting is symmetrical and balanced. The colours are plain and low-key and there are no extreme contrasts.

This painting is capturing and freezing a memory in time. It also creates a sense of unity and leaves the viewer with a happy feeling.                                                                                                                                                                                              Bridal Moments(1954).76.5x62.5cm. Oil on cardboard

 This painting by Antoine Camilleri is a representation of Balluta Bay on a nice, sunny day. In the painting we can see the calm waters, on which many colourful boats are floating. In the background we can see a church and a few other buildings.

The painting is made up of many obscured lines which form the boats and the buildings. The artist used a wide palette of warm, subdued colours. The yellow of the buildings is most eye-catching and even though blue is a cool colour, when looking at this painting I still get a warm, calm feeling.

The light coming from the top is reflecting the boats and buildings on the water. The degree of depth is low in this painting and main interest is evenly distributed throughout the picture.

                                 Balluta Bay by Antoine Camilleri (1947). Oil on hardboard. 49.5 by 65cm

Credits: 

-Information boards in the Fine arts Museum

-http://www.antoinecamilleri.com/senior/