Vincenzo Bonello as a pioneer in Maltese art history and criticism

Abstract

The aim of this long essay is to discuss Vincenzo Bonello's (1891 - 1969) contribution to Maltese art history. It is based mainly on an analysis of his writings which span more than half a century (1911 - 1969) and which amount approximately to a hundred and fifty. Writings in the local press constituted a very large proportion of Bonello's literary and journalistic output The daunting task of identifying such writings has been greatly alleviated by the invaluable help of Vincenzo Bonello's son, Dr Giovanni Bonello LL.D, who has made available a list of his writings on art, including those that appeared under a nom-de-plume. This index does not claim to be complete. A compilation of Bonello' s writings, based on the contents of this card-index as well as my own research is included as Part (1) of the Bibliography at the end of this long essay. The likelihood of other art writings by Bonello being discovered in future is not to be dismissed. Vincenzo Bonello' s activity extended far beyond research and interpretation. He was deeply involved in restoration, conservation museum and exhibition organisation. The Minutes of the Antiquities Committee and other documentation relating to the National Museum, preserved in the Archives of the Museums Department, have provided a rich source of material in this respect Bonello' s authority in the sphere of fine arts and antiquities, particularly before World War Il, meant that his name was ubiquitous in the records of artistic ventures in Malta at that time.

The possibility of studying Vincenzo Bonello in his various facets is vast, yet I feel that for the scope of the title of this essay. I have consulted sufficient material to enable me form a good idea of the man, s contribution to Maltese art history. This essay therefore does not include a detailed analysis of Bonello's role as artistic advisor to the Local Government after World War II, his great influence in decisions concerning commissions for ecclesiastical art in the 1950's and 60's, and his purely artistic dimension in terms of his architectural designs, designs for church pavements, church furniture, and miscellaneous other projects of an artistic and graphic nature. I feel that all this provides ample scope for future study. Bonello's political aspect, although certainly not ignored, has not been examined in depth. I am aware that he held strong political ideologies and affiliations with the Partito Nazionale particularly before the War since he was a very ardent adherent of ltalianita '. Yet I feel that in this essay I may concentrate on Bonello's actual achievements and contributions to art scholarship in Malta and other art-related disciplines. Only when politics might have conditioned his activity in the arts do I make a note of it, yet overall I feel that his contribution was weighty enough to deserve to be studied self-sufficiently.