The artwork for promotional publicity had, in early Malta, often been commissioned to competent painters; in this particular sector, the domestic poster output generally compares quite favourably with its counterparts in the rest of Europe.
My interest in posters mainly arose from the fact that, in some cases, the same artwork served both for posters and for postcards. I know of fine examples by our more prominent artists – Ġanni Vella, Edward Caruana Dingli, Emvin Cremona and others – turning up both as postcards and as posters.
Maltese ‘popular’ art rarely flirted with the avant garde but a number of local poster artists in the 1930s came up with extraordinary examples of bold art deco graphics. It is a great pity that some of the best ones are not signed. They could not rely on computer support then.
Though posters mainly promoted commercial activities, like air services, tourist amenities or the sale of consumer desirables, some, equally fine, publicised religious events, such as the 1913 and the 1938 Eucharistic congresses and the 1949 Marian Congress.
The abuse of posters reached its nadir in Malta when no police discipline regulated the pasting of printed political propaganda directly on public wall spaces during election times.
I am publishing a depressing photo to remind readers how political posters joyfully vandalised Valletta – indispensable components of election campaigns. Thankfully, that uncouth visual pollution now belongs to the past.
I am including poster artwork by both local and foreign graphic designers, so long as the subject has an evident Malta connection. I am not aware that domestic poster art has been studied in depth and I suggest it would be a rewarding project for one of our gifted history of art students.