Three early nineteenth-century mythological paintings at Verdala Palace, Malta : an art-historical, contextual and comparative study

Abstract

The main theme of this dissertation was the focused analysis of three early 19th century Maltese artworks who share a common mythological theme. The paintings are Ajax Saving Himself from the Tempest, Aeneas holding Bleeding Branches and Turnus Being Tormented by the Furies, the former two by Salvatore Busuttil and the latter by Pietro Paolo Caruana. Art historians seem to have given these paintings small amount of attention. However, despite the lack of detailed information these works were still deemed important enough to be mentioned in a number of publications. Dr. Mark Sagona and Prof Mario Buhagiar, have mentioned the works as examples of the artists’ importance as examples of the artistic style at the time. This lack of attention is surprising due to the fact that the number of mythology-related artwork in Malta is disproportionately low especially when compared with sacred-themed art. This disproportionality in itself should have been reason enough to garner them more attention. This leads one to question to the why these paintings have never had an in-depth analysis dedicated to them in any study or thesis, let alone a whole book. In the first chapter of this dissertation, the aim was to discuss an extensive number of sources which mention the artists and the works, either separately or together. This was to try to contextualise and identify what knowledge has been compiled so far both in terms of these subjects as well as mythology in general in both a Maltese context as well as an international one. The focal aim of the dissertation was to investigate the stylistic, historical, social and political context within which the two artists in question worked, as well as what led to the creation of these works and place them within the context of the mechanics of their patronage in the Maitland bursaries and by analysing their creation. This dissertation also sought to understand the context of these works. The three works were analysed within the opus of the artists and within the larger international context. In the second chapter of the dissertation, the focus is centred around the artistic developments of the nineteenth century occurring in Malta. This was so that an attempt can be made to visualise the artistic situation in Malta during this time. In this chapter, the Maltese context of these works would also be discussed. This was done through an analysis of the lives of the Busuttil’s and Caruana’s humble beginnings up to the point that they both decided to leave for Rome in order to attend the Accademia di San Luca. This chapter also discusses the reasons why the artists were allowed to go to Rome and also within the context of the Scuola del Disegno, which had prompted the careers of many a hopeful Maltese artist. The third chapter of the dissertation was focused around the international context. This included topics such as the source of Salvatore Busuttil’s and Pietro Paolo Caruana’s inspiration whilst they were studying at the Accademia di San Luca. This chapter highlighted certain interesting aspects in the discussion of the Accademia and its art curriculum along with the reasons why foreign artists would be so interested in learning from Roman schools of art such as the Accademia. Furthermore, this chapter aimed to discuss foreign ideas regarding artistic education and artistic styles outside the scope of Rome. Finally, this chapter discusses the Maltese link with Rome and the Accademia di San Luca along with Salvatore Busuttil’s and Pietro Paolo Caruana’s stay at the so-called Eternal City. In the fourth and final chapter of this dissertation, a comparative and contextual analysis of the three works was to be carried out. The main component focuses on understanding these works by analysing the contexts from an artistic point of view, but also to analyse the social, religious and other dimensions behind the paintings. In this chapter, the artistic and historical background of the characters Aeneas, Ajax and Turnus were discussed, with the scenes depicted in the works being the highlight. An analysis was also done on how Salvatore Busuttil and Pietro Paolo Caruana adopted and integrated certain imprinted Romantic and Neoclassical elements into their own artistic style. Lastly, a comparative exercise was to be carried out, comparing these three mythological representations with similar works. This was an attempt to establish these works within the artists’ careers.