George Fenech : capturing the soul of Malta

Abstract

This study attempts to analyze the life and work of the painter George Fenech within the context of Malta and its modern art historical milieu. My two constant points of reference have been the Hon. Chief Justice Emeritus Prof J.J. Cremona's George Fenech B.O.V retrospective exhibition catalogue: a valuable compilation as regards chronology and publications featuring the artist, as well as Joseph Paul Cassar's PH.D. Dissertation 'Pioneers of Modem Art in Malta - A Critical Analysis of the Beginnings of a Cultural Change in a European Perspective 1900-1970' which proved to be an invaluable source of information especially when it came to placing the artist within the context of the Maltese artistic scene of the 1950s, 60s and 70s. Scholarly publications regarding the artist per se are very scarce and are often limited to a brief description of his academic formation and perhaps a short discussion of one or two representative works. My main sources of information have been a series of locally published newspapers articles spanning the artist's productive career. Although these have most of the time proven to be indispensable, they have also been treaded carefully and analysed critically, most of the time just serving as witnesses to events of which there exists little or no documentation. The artist has been consulted several times along the process of compiling and writing this dissertation. He has been an endless source of information, ready to answer any queries which I might have encountered along the way; always narrating a novel anecdote; confirming or clarifying that which I might or might not have read.

The artist has also been kind enough to grant me access to his studio where I was able to go through and photograph freshly produced works as well as ones dating further back to his early years. The same came be said of the private art collectors who very kindly let me into their homes in order to take the necessary photos and measurements. The following dissertation is structured on four chapters. The first dealing with artist's childhood and youth, with special reference to possible influences; especially those of his tutors at the various centres of training he attended during his formative years. It goes on to discuss Malta's artistic climate between the 1950s and 70s - always with special reference to the artist and his involvement in activities, exhibitions etc. The penultimate chapter offers an overview of the Fenech's evolution of style; beginning from the early years at the Malta Government School of Art up to the mode of work he is using today. This chapter is best appreciated in conjunction with the catalogue entries of the artist's paintings featured at the end of this work. The final chapter discusses the artist's important one man exhibitions through the years; it brings the reader up to date with the artist's most recent activity as well as how his painting has left an imprint in contemporary Maltese art.