The exploration of colour and form in Joseph L. Mallia’s work

Abstract

The aim of this dissertation is to bring to light the work of Joseph Lawrence Mallia and its connection with major Modernist Art Movements, namely; Cubism, Futurism and Suprematism, as well as his contributions to modern art in Malta. To my knowledge, Mallia was one of the few artists locally to successfully grasp the philosophy behind the movements mentioned previously and who has not yet been subject to much academic debate. By conducting this research and attempting to connect Mallia with these major international movements, I will be following what Professor Giuseppe Schembri Bonaci’s publications emphasise, whilst also furthering my research on the basis that Malta was not in fact an isolated nation but rather that influence seeped in with artists such as Mallia himself, who would spend a considerable number of years studying in the United Kingdom. Mallia has an astonishingly long carrier, both as an art educator as well as a practicing artist, the latter of which he is still very much active in. Taking this into consideration and seeing the substantial body of work which has been produced by him, I strongly believe that it is important to dedicate this dissertation solely on one of the pioneers of modern art in Malta, who although being mentioned in a number of publications, is still very much on the side lines of the history of art in Malta. Throughout my communications with him during the writing of this dissertation, I have come to know him as a humble artist who had to face significant struggles and challenges in his artistic career. This research would give this artist, misunderstood by many and most often working in isolation, recognition to his perseverance, determination, and strength in continuing his work, which delves into the philosophical and spiritual. His work is the product of notations being frozen in time, creating work which becomes a window into his subconscious. The word notation will reflecting the act of reacting to the senses and surrounding environments and expressing that through the act of art making. Although as part of this dissertation I will be presenting a biographical note, this dissertation will focus mainly on a theoretical and archival approach. Firstly, I have undergone a lengthy process to formulate the start of a catalogue raisonné through an archival process both directly with Mallia himself as well as tracing works either in private and public collections, documenting and cataloguing over 300 unpublished works, intended to serve as the foundation for future research to be carried out in the future. Secondly, a theoretical approach will be adopted in the study of Mallia in relation to the early 20th century art movements as well as in relation to the study of colour and form, both of which will lead to a general analysis of his oeuvre. It goes without saying that this dissertation would have not been possible without the cooperation and assistance of several people. I would like to thank my tutor, Professor Giuseppe Schembri Bonaci, for his patience and time dedicated in guiding me to finish this dissertation. I would also like to extend my gratitude to Dr Nikki Petroni and Professor Keith Sciberras, Head of Department of Art and Art History and all other members of the department for instilling the passion for research. Furthermore, my thanks goes to Joseph Lawrence Mallia and his wife, Mary, who have welcomed me into their home for several visits without which my dissertation would not have been possible, and their daughter, Henriette, who always assisted in any way possible. I would also like to thank Dr Katya Micallef, the curator of modern and contemporary art at MUŻA (Heritage Malta) as well as Umberto Buttigieg, the director of the Malta School of Art and Lino Borg, a master printer at the Malta School of Art for their assistance and for always welcoming both Joseph L. Mallia and myself in their institutions, and for making any resources available to my research. Finally, I would like to thank each and every private collector who eagerly opened their doors for me to photograph and catalogue works forming part of their collections, your assistance and cooperation have allowed for the gathering of a substantial sample of Mallia’s work. Last but not least, I would like to thank my family and friends for their continuous support throughout this journey.