Emvin Cremona (1919-1987) : an innovator in Maltese modern art

Abstract

This long essay attempts an assessment of Emvin Cremona's artistic innovations mainly within the Maltese modern artistic context, but also compared with some of the relevant international art trends, as to be able to judge the extent of the artist's achievement in relation to the international scenes. One of the aims of this research is to provide a proper documentation and analysis of a considerable part of his abstract oeuvre; though it was impossible to bring together all of his works due limitations presented by private collections in Malta and in particular abroad. This work would not be possible without the research carried out by art historians and other literature about Cremona' s work. There are a number of essays and much published material contemporary to Cremona' s life which not only give a biographical account of the artist, but also discuss the body of works he was carrying out at the time. Sometimes, these revealing texts, tend to lack a detailed and total assessment Cremona's work, and generally focus on a particular aspect of his oeuvre, the majority of which are exhibition catalogues, newspaper articles and reviews. These writings and publications have been researched, collected and studied so as to give an additional view of Cremona through the criticisms and appreciations of all critics and reporters contemporary to the artist, which will buttress or will be buttressed by information obtained through verbal communication with Cremona's family, friends, colleagues and students. In order to explore in what ways Emvin Cremona was influenced by his studies in Malta and abroad - Italy, England, and Paris - the work shall discuss the general artistic background of these atmospheres. This is also essential in order to attempt a critical appreciation of his innovative contributions; thus determining whether Cremona brought back with him new ideas, techniques and styles which were unprecedented in the new, fragmented post 1940s artistic scene in Malta. Besides these points, I hope to present some details regarding his personality integrated within each chapter as relevant to the text, so as to try to understand better and to view his works in a more holistic manner. For this purpose a discussion of the cultural background of the 20th century is necessary in order to place the artist in his proper perspective. Apart from focusing mainly on Malta, the study will include a concise description of international artistic activities, with special attention to the European and American scene: particularly what was happening in Italy in late 1930s and early 1940s - namely, Novecento Group, Futurism, Metaphysical Art - then from the mid forties, the new artistic center, New York - Automatism, Abstract Expressionism and Painterly Abstraction - as well as in modem English artistic art trends - particularly the St Ives school - together with some attention to the exciting Parisian scene in the late forties - namely, Art Informel and Art Brut. Throughout his career, Cremona's art underwent notable changes. I shall try to show how, by employing innovative ideas, Cremona progressed to such an extent as to develop his personal refreshing view of abstraction, and, by refusing to limit himself to a single idea or artistic fashion, sanctioned by the art world, he managed to maintain his utmost individuality. Moreover, I shall try to explain, that by being innovative Cremona questioned the rigid axioms on which some local artists based their artistic reliance. I shall illustrate how Cremona shifts the emphasis from a rigid academic (Italianate) system to more flexible and 'arbitrary' expression of art. This should confirm that by doing so, the artist made his works always more challenging and exciting. The resulting analysis, attempts to study in detail, whether Cremona was a pioneer at using new materials. It should indicate whether Cremona truly captured the newly found artistic freedom, the hallmark of the modernist revolution in Malta. Such an approach shall also be utilized to assess deliberately, two other of his most important contributions: his church commissions, and his vast philatelic production. This study is principally concerned with a critical assessment of only a representative selection from Cremona's prolific oeuvre, and by no means intends to be an exhaustive catalogue of his works.