Joseph Briffa (1901-1987) : a critical assessment of his artistic output

Abstract

The present study seeks to put the works produced by Joseph Briffa (1901-1987) within their proper context, in the growth of Maltese art. Moreover, it tries to give a critical analysis of a representative cross section of the artist's output - bith that made within the restrictive boundaries of church patronage, and even that made out of any specific commission. A small chapter is reserved for Briffa's portraiture, which provides another important facet of talent. An important section deals with Briffa as an ecclesiastical painter. The prolific number of church works he produced, make up the larger, though not necessarily the most valid part of his oeuvre. Some of the works however, are nowadays completely lost, or else impossible to see; the only feasible solution to this problem was the use of photographic records, if available. When these were impossible to find, an idea of how the works could have looked like was obtained from contemporary newspaper articles. Works no longer extant are: the very important choir and dome decoration at Senglea's Parish church and the pendentives at St.Publius church, Floriana, both completely lost during the war; the paintings in the Mosta rotunda which were obliterated some years after they were painted. The paintings in the small church at Nadur, popularly known as Ta' Karkanja, are furthermore, because of some structural problems in the fabric of the building, presently almost entirely covered. The two chapters dealing with Briffa's church works are, by and large, divided into spans of time which correspond to landmarks in Maltese history, namely the Second World War and Independence. These events bear no direct connection to Briffa's art, and are mainly used as a convenient means by which the long period under discussion can be sensibly divided. Briffa's work as a restorer with the Museums Department, is here not dealt with. A note of some importance should however be given to this subject. As recounted by Rafel Bonnici Cali', who was employed as a restorer, it was Briffa who first discovered the signature of Cassarino, a find, which was to lead into a precipitation of hypotheses about this seventeenth century Caravaggesque painter. If in certain instances, the tone of this write-up may sound apologetic, rather than critical, it is because Briffa merits more respect as an artist. At present, he is largely held as an anachronism, who found it convenient to hold to ailing and conventional traditions. Hopefully, this study, will at least throw new light on this unfairly discarded artist.