Self-Portrait

An artist is a special kind of being; this is a concept that was exploited by Renaissance artists who understood how important their role was in society as creators, a process that makes them superior beings, even corresponding to God.

But this is not the only reason why artists are special beings, because their lifelong work lives on in their creations even after their demise. Moreover, an artist leaves his legacy not only in the works he produces, but also in the artists he inspired. This is more so when the artist was also a respected teacher.

This was certainly the case with George Fenech, as was borne out of an exhibition held in the entrance foyer of the House of Representatives, Valletta, that was aptly titled Homage to George Fenech, Artist and Educator, 1926-2011. Here, the public had yet another opportunity to appreciate this artist’s artistic production.

Fenech was one of Malta’s greatest 20th-century artists, one who lived a long life and had an admirable career as a teacher and prolific painter. He was reticent and a lover of nature. He was an artist who commemorated folk and tradition, be it those of housewives, builders working in construction sites, fishermen, and more. He has immortalised skilled activities and manual labour, and used these subjects for high art.

He has immortalised skilled activities and manual labour, and used these subjects for high art

There were 40 paintings by Fenech in the exhibition in all, including portraits, nudes, still lifes, genre scenes and landscapes. They suitably displayed a broad spectrum of his output, revealing a certain rustic charm and love for the rural village of Mellieħa, where he was born and raised.

Ċirkewwa

The exhibition was different from others held in the past to commemorate Fenech in that it not only exhibited paintings by the master, becoming in part another retrospective exhibition of his work, but it also boasted of 13 works – paintings and sculptures – by artists who were Fenech’s students. All the works by Fenech’s followers displayed a variety of styles, but all the artists had a point of departure or connection with the master throughout their artistic training. They also displayed varying levels of indebtedness to the master.

The more obvious reliance on Fenech was visible in the works of the artist’s son, Gilbert, as well as those by Jo Debono, Lino Borg and Anthony Mamo, who exhibited landscape and still life paintings. Others, like Joseph Paul Cassar, presented works that pay tribute to the master, but were not as obviously linked to his oeuvre.

Antonietta, Seated Model

All the paintings were understandably mounted on grey panels; the venue consists largely of glazed  curtain walls, with the exhibition being split between the two rooms of the foyer: the first dedicated to the master himself, the other to one work by each of the 13 participating artists that comprised his followers, namely Lino Borg, Joseph Paul Cassar, Joseph Chetcuti, Alex Dalli, Jo Debono, Toni Ellul, George Farrugia, Gilbert Fenech, Frans Galea, Louis Lagana, Anthony T. Mamo, Andrew Said and Carmel Said.

George Fenech was an artist who, in the words of Mario Buhagiar, “suffers from a lack of proper appreciation”. Fenech’s wife has rightly made it her mission to bring her late husband’s art to the fore with such exhibitions to keep his artistic memory alive. In fact, a year after his death, three exhibitions were held in different locations with this aim in mind.

This was the same year that an extensive monograph on the artist’s life and work was also published. And there have been other such initiatives showcasing Fenech’s art following his demise.

Such events help us to reconsider Fenech’s place in the history of modern art in Malta. This latest exhibition was also accompanied by a publication by the Ministry for Education, containing an introduction by Education Minister Evarist Bartolo, essays by Mario Buhagiar and Joseph Paul Cassar, and the artist’s biography. The publication is illustrated with photos of the master and his art works, and those by the 13 contributors. A public lecture was also held by Lino Borg to discuss Fenech’s art.