/library/oar/handle/123456789/44441 2026-06-24T09:14:22Z /library/oar/handle/123456789/82174 Title: Furniture in baroque paintings in Malta Abstract: The concept of my work in this Art historical study is primarily to understand the importance furniture has in art works, and more importantly in my case, to find the relevance of furniture pieces, in Baroque paintings. I tried to research the fashion of Baroque interiors primarily, in order to ultimately prove whether the furniture depicted in these paintings was based on realistic interpretation of the items of furniture found within households of the 17th and 18th centuries, or whether they were simple or invented versions of such fittings. I have always been intrigued by furniture and interior design, both of contemporary times and those interiors with fittings now considered as Antiques. It is on these antiques that my study depends on the most, as it is these types of furnishings that help decorate the interiors or exteriors of the scenes depicted in the paintings of the 17th and 18th centuries, namely Baroque Paintings. The dissertation begins with a general overview of the types of fittings that are found in Baroque works, and ultimately the themes that these types of furniture are mostly depicted in. A part of the text is also dedicated to a synoptic survey of the interiors of the aristocratic households. Here I gave importance not only to furniture but the entire surroundings. This part of the course work was in my opinion, without doubt necessary research for a better understanding of the fashion and the utility of the furnishings of the time. A thorough understanding of the interiors of the higher class, and those of the lower classes eventually helped organize my thoughts and understanding of the furniture depicted in the paintings under study. This study of Antique surroundings would have certainly been a difficult task without the assistance of Joseph Galea Naudi; who I am greatly indebted too. Description: B.A.(HONS)HIST.OF ART 2005-01-01T00:00:00Z /library/oar/handle/123456789/82150 Title: An annotated catalogue of the paintings found in the Capuchin museum Floriana Abstract: This dissertation seeks to catalogue the paintings found in the Capuchin Museum, which is situated in the Capuchin Convent, Floriana. It has been divided into various sections, the last of which deals with creating an annotated catalogue of the paintings. Firstly, the introduction aims at familiarising one with the Capuchins and their formation into a religious Order. It also goes into some detail about their coming to the Maltese Islands. It is here that the first evidence of the Capuchins are highlighted and discussed, showing the way in which the first friars won the love of the Maltese population and the Grand Masters at the tune. The end of this introduction discuses the way in which Grand Master Hughes Loubenx de Verdalle introduced the Capuchin Order to the Maltese Islands, and built for them, their first Church and Convent, in Floriana. It is this conclusion to the introduction which bridges the work into Chapter 1. It is the first chapter which further attempts to go into the formation of the three main Capuchin Convents of Floriana, Kalkara and the one in Gozo. This is done with the sole purpose of noting and understanding further the paintings in the Floriana Capuchin Museum, which in turn were gathered largely from these three main sources. The second Chapter which follows, is a subject which is more closed in its nature. It focuses in a more direct manner on the formation of the Capuchin Museum and moves on into a somewhat brief synopsis of the objects in the museum, which does not just focus on the paintings yet in tum gives a more global discussion of its exhibits. After this historical spectrum has been discussed, the dissertation takes a somewhat different shape as focus is made upon the various paintings which are displayed in the Museum. A close up of forty-five paintings, placed chronologically in order, according to their date, starting from the 16th and ending in the 20th Century, has been selected for discussion. The aim of this catalogue is to place the works in their art historical context viewing them in the perspective of the artistic scene in Malta. Description: B.A.(HONS)HIST.OF ART 2002-01-01T00:00:00Z /library/oar/handle/123456789/82039 Title: Joseph Bellia (1932-1999) : a neglected landscape artist Abstract: This long essay seeks to instill an interest in the work of Joseph Bellia and to place this artist in his historical artistic context. In the subtitle Bellia has been referred to as a neglected landscape artist since the artist has been largely forgotten after he passed away. This thesis treats landscape in the broad sense of the word and, therefore, cityscapes and seascapes are included with the rural landscape. As an artist of merit he is largely unknown to the new generation of artistic oriented Maltese. 'An artist requires an audience he can address, the absence of which can shrivel up his art, as indeed has been the fate of many Maltese artists. Bellia was an unassuming person and he stepped into the local artistic circles quite late in life. As a consequence his early artistic interests, training, and production remained obscure even from the people who were well acquainted with Bellia during his artistic carrier. On the other hand the memories of those who knew Bellia as a youth practicing art faded away through the years. Unfortunately Bellia's only brother, who could therefore have been an invaluable source of information passed away a year prior to the artist. The information available was therefore very limited indeed. Only one of Bellia's fellow school mates, Guido Lanfranco who luckily enough shared Bellia's interests in art and his other hobby, reading could recall relevant information on Bellia's early artistic interests. However although the research was quite a formidable task, it proved interesting and rewarding. One cannot really appreciate the art of Joseph Bellia, unless one places him in his historical artistic context, both in the international scene and, more importantly, in the local scene. Therefore, this long essay provides a brief overview of art in the 20th century so that the reader may obtain an insight on possible influences that could have affected Bellia' s art. A number of people who personally knew him provided me with information to acquire a better insight of his life and character. Having said this not all people whom I contacted were willing to collaborate. Unfortunately I have never had the opportunity to meet Joseph Bellia before he sadly passed away on the 25th November 1999. Apart from these primary sources it was also essential to read through books and other documents of artistic related interest that were in his possession in order to better understand his art, its influences and stylistic developments. Unfortunately, Bellia's biographic data and his formative years remain rather obscure despite my efforts to gather any relevant information that could shed light on this crucial period in his life. Bellia's techniques and stylistic developments are discussed and substantiated by a critical analysis of his paintings, which is of major importance. His works are analyzed and discussed within the context of the art of his predecessors and his contemporaries. A list of his solo and collective exhibitions is provided as an appendix. [App. No.I] Newspapers, articles and reviews of exhibitions were consulted, especially those relating directly to the artist Joseph Bellia. Although these were treated with great caution because of their non-academic nature, nonetheless they proved useful in showing the public's response to Bellia's work and in providing important facts such as the works exhibited in both his personal exhibitions and in the collective exhibitions in which he participated. To date, no extensive work has ever been published on Joseph Bellia. A few publications refer to the Artist but provide only scanty information mainly limited to a brief description of his academic formation. These publications include Nicholas de Piro, International Dictionary of Artists who Painted in Malta and Michael J. Schiavone and Louis J. Scerri, Maltese Biographies of the Twentieth Centwy. Among the important sources of reference were Joseph Paul Cassar' s book L-Arti Modema and his Ph.D. thesis 'Pioneers of Modern Art in Malta - A Critical Analysis of the Beginnings of a Cultural Change in a European Perspective 1900-1970. 'This proved invaluable in placing Bellia within the context of the Maltese artistic scene. Although the works illustrated in this long essay constitute a small part of the large quantity of works analyzed and photographed during the research, I am sure that there are a great number of works in public establishments and private collections in Malta and abroad that unfortunately I did not come across and document. The aim of this research is to put the work of Joseph Bellia in its perspective and to place him in his historical context, giving him the recognition he deserves. Description: B.A.(HONS)HIST.OF ART 2007-01-01T00:00:00Z /library/oar/handle/123456789/81909 Title: The filial churches of Qormi : history, architecture and works of art Abstract: The primary objective of this long essay is to contribute to the study on filial churches and thus open the way for further research of their history, architecture and works of art. This study is mainly concerned with the eight existing filial churches within the parish of St. George in Qormi. The historical account given on churches focuses on their present structure but references are also made to earlier churches that are historically connected to those under study. The architectural analysis is aided by plans and the discussion of building techniques. The study and documentation of works of art also include those, which are currently transferred to other places and collections outside the precincts of the church. Description: B.A.(HONS)HIST.OF ART 2003-01-01T00:00:00Z