Celebrating Antoine Camilleri 1922-2005 is curated by Professor Joseph Paul Cassar and co-curated by Mr Hilary Spiteri. This exhibition is hosted by the Camilleri family and the project is co-financed by the Malta Arts Fund. The exhibition will be open to the public at Spazju Kreattiv from October 9, 2015 to November 22, 2015.
SUPPORTED BY
Leaflet text by Mr Hilary Spiteri co-curatorDesign by Spiteri Art Studio (hilaryspiteri.com)
Cover detail from Self-Portrait, 2002.
Introduction
This exhibition embarks on a retrospective journey in honour of the Maltese artist Antoine Camilleri (1922-2005), curated by Professor Joseph Paul Cassar, co-curated by Mr Hilary Spiteri and produced by the Camilleri family. The event is hosted at Spazju Kreattiv, St James Cavalier Centre for Creativity, Valletta.
The exposition puts on show a number of over 150 works of art by the artist including paintings, drawings and lino prints. The display also provides a detailed socio, political and religious context to the art works, present through a series of personal notes, letters, studio tools and furniture, lino blocks and sketches.
Rather than following a strictly chronological sequence, Celebrating Antoine Camilleri 1922-2005 is organised according to thematic sections that emphasise the parallels between different stages in his career. Bringing together works made at the Malta Government School of Arts, Paris, Bath (UK) and several others from private collections, it traces motifs and ideas as they are revisited and deepened in objects and images that he produced throughout his artistic career.
Antoine Camilleri (1922-2005) pertains to the first generation of Maltese ‘modern’ artists. He attended the Malta Government School of Art in 1936 and his first tutor was Dwardu Zammit and later under the tutorship of Chev Vincent Apap and Chev Edward Caruana Dingli. In 1949 Antoine Camilleri parted Malta to study art at the Académie des Beaux-Arts in Paris and in 1960 he obtained a Commonwealth Scholarship which allowed him to further his studies for a year at the Bath Academy of Art in England.
In 1956, Camilleri filled the post as an Art Educator, teaching art at a full-time level, at the Lyceum in Valletta and later in Hamrun. Antoine Camilleri was active in Malta’s first modern art group known as the Modern Art Circle (1952). Furthermore, in the following years, the artist was one of the founding associates of the Atelier ’56.
Antoine Camilleri was very prolific throughout his artistic career with a series of personal and collective exhibitions testifying to his artistic progress, both in Malta and abroad. Throughout the years, the artist experimented with a variety
The Artist
of media and he will be mostly remembered for his unique style known as ‘pictures in clay’, involving the working and manipulation of clay and its dry and crackled textures.
Camilleri’s introspective nature is widely explored in a series of self-portraits which he produced throughout his career. Antoine Camilleri has grown into becoming a point of referral in Modern Art in Malta and an inspiration to the new up and coming generation of artists.
1Born in Valletta on February 5, 1922, Antoine Camilleri’s earliest endeavours of himself, crawling in the first steps of artistic expression, are portrayed in an early interpretation of Van Dyck’s Portrait of Cornelis van der Geest; an oil painting on cardboard which he produced when he aged ten. In 1936 Camilleri was introduced to the Malta Government School of Art where he was instructed by Vincent Apap, Edward Caruana Dingli and Carmel Attard Cassar.
Portrait of Cornelis van der Geest (after Van Dyck)
1932Oils on board20 x 18 cmsSigned
Early education
2In 1948 Antoine Camilleri furthered his studies in Paris. In a period of two years attending at the Ecole Nationale Superieure des Beaux Arts, Camilleri became conversant with the Modern artistic developments which were prevailing at that time. On an artistic level, the Parisian experience broadened the artist’s vision and ameliorated his artistic expression.
Nude studies
1948, ParisPencil 85 x 50 cmsSigned
Parisian sojourn
3In 1960 Antoine Camilleri parted to Bath (UK) on a Commonwealth Scholarship. During his one year residence at the Bath Academy of Art, Camilleri was introduced to the ceramics technique and was exposed to the abstract movement. Simultaneously this period is also characterised by a series of works illustrating the artist’s approach to the model and the studio.
Life class
undated, Bath (UK)Black powder colour on paper53 x 60 cmsSigned
At the Bath Academy of Art
4Antoine Camilleri’s family was a constant involvement that finds its way in his art. Departing from the portraits of his parents and close relatives, once married, Camilleri carries with him his most cherished moments and life experiences with his family and conserves them in his art; from the portrayal of his Bridal Moments (1954) to a series of family portraits recording his entire family.
Bridal moments
1954Oil on board76.5 x 62.5 cmsSigned
Family matters
5Throughout the years, Antoine Camilleri experimented with a variety of media. He will be mostly remembered for his unique style known as ‘pictures in clay’, involving the working and manipulation of clay and its dry textures which were later sealed and fossilized with resin.
In-nannu
1984Clay, photographs, clay and resin75.6 x 48.8 cmsSigned
Pictures in clay
6Antoine Camilleri had various studios in his career. He considered the studio as a sanctuary where the artist meditates the process and creation of art. The most important studios that Camilleri is known to have worked in are: the studio at Three Churches Street in Balzan, The ‘Kantina’ studio at 84 Old Bakery Street Valletta and at ‘Atelier’ 43/11 Zachary Street Valletta.
The artist in his studio in Zachary street Valletta.
Photo
The artist’s studio
7Antoine Camilleri sought in the human model a source of artistic inspiration. The model has intrigued the artist up to the late years of his artistic career. The economy and incisiveness of the line testify to his indebtedness to the human form.
Nude
1988Pen on textured paper34 x 50 cmsSigned
Latest drawings
8Antoine Camilleri incorporated in his works various found objects, things that he was acquainted with in his studio or in his house. Camilleri petrified these found-objects with resin, and eternalised them to be viewed. The natura morta itself becomes the work of art. Camilleri does not temper with interpreting or modifying nature from its pure state of being; he simply immortalizes it.
The artist’s meal
1960Found objects concealed with resin on woodSigned
Defying boundaries
9The 1960’s feature Antoine Camilleri in an expressive vein in which movement and dynamism take over in his compositions. Wild horses, bull fights, cock fights and dancers are subjects that prevail in his art for nearly a decade.
Wild horses
undatedoils on cardboard 114 x 73.5cms Signed
The art of expression
10In depicting the sea, boats and villages Antoine Camilleri expressed his passion for the Mediterranean nature of the Maltese islands. Camilleri documented the Maltese countryside in a simplistic and harmonious way; carefully selecting viewpoints to compositionally fit his artistic vision.
The fishermen
1984Ink and crayon on board 40 x 55cm Signed
Sea, boats and villages
11The Human Chessboard series proposes life as a chessboard and human lives as footsteps. In other occasions, Camilleri contemplates the act of procreation as well as ideas concerning the principle of natural selection as a play of symbols and incisions in clay.
The human chess board
undatedClay and resin50 x 82 cmsSigned
Communicating through symbols
12Antoine Camilleri sought in the natural ochre colour tones of the wood a middle tone to his interpretation of the Maltese village. Squarish forms dominate and provide a stylistic approach that almost leads into abstraction.
The Grand Harbour
1988Clay and resin53 x 61 cmsSigned
Landscapes in monochrome
13Antoine Camilleri held Religious Art close at heart and his works mirror a deep religious nature. The Visitation is the artist’s final work, his final journey in paint, clay and resin on wood which resonates the artist’s acceptance into an ultimate metaphysical dimension.
The visitation
2005Clay, metallic paint and resin82 x 60 cmsSigned
One final journey
14Between 1971 and 1976 Antoine Camilleri shifted his attention to a series of lino-cuts and prints. The artist was very well conversant with the medium and its irregularities. Camilleri’s primitive approach to the medium offered curious results which in turn balanced his simplistic use of flat and clean lines.
The fishermen
undatedLino Print93 x 64 cmsSigned
Art in print
15Antoine Camilleri painted himself constantly. The artist records his physiognomic progression and experiences through a series of self portraits spanning throughout his artistic career. The self portraits mediate the spiritual, intellectual and artistic psyche of the artist and he presents himself to the viewer in a series of moods and intensive looks.
Self-portrait
1979Oils on wood 90 x 54 cms Signed
The self
16Antoine Camilleri adored working from the live model throughout his artistic career. His works related to the study of the model feature the simplicity of line which by the passing of time became more and more economical. The model for the artist was a means of rejuvenation and instilled in him a sense of awe and joie de vivre.
The artist in his studio (Il-kantina)
1982Clay and resin56 x 80 cmsSigned
The artist and the model
17Antoine Camilleri applied his artistic skills in the field of design. During the late 1970’s and 1980’s, Camilleri was commissioned by the Malta Philatelic Bureau to design sets of stamps commemorating a series of both artistic and social events. On other occasions, Camilleri submitted designs for postage stamps bearing a nom de plume.
Preliminary designs for the Albrecht Durer stamp
1978Pen, watercolour on paper11 x 19 cmsUnsigned
Philatelic design
18Antoine Camilleri’s philosophy of life held art as a constant element and as such it was to be integrated in every aspect, both the formal and the mundane. As a result, he applied his artistic skills to design and produce carnival and political floats. Camilleri took part in carnival contests in the late 1960’s featuring some remarkable floats that show the artist’s innovative and juvenile spirit.
Facial and costume design
undatedInk and gouache30 x 20 cmsUnsigned
Carnival float and costume designs
1
2
3
4
5
6
7
1Early education
2Parisian sojourn
3At the Bath Academy of Art
4Family matters
5Pictures in clay
6The artist’s studio
SPACE A
>>
>>
SPACE C4
SPACE C1
SPACE C3
SPACE C2
8
9
10
12
13
14
15
16
1718
11
8Defying boundaries
9The art of expression
10Sea, boats and villages
11Communicating through symbols
12Landscapes in monochrome
13One final journey
14Art in print
15The self
16The artist and the model
17Philatelic design
18Carnival float and costume designs
>
>
SPACES A, C1 – C4ST JAMES CAVALIERCASTILLE PLACEVALLETTATEL: 2122 3200
EVENTSTHURSDAY NOVEMBER 5, 2015 19:00 Antoine Camilleri: The Lino Printing ProcessLino Borg THURSDAY NOVEMBER 12, 2015 19:00Antoine Camilleri: The Self PortraitsLawrence Pavia SATURDAY NOVEMBER 14, 2015 15:00Antoine Camilleri:Evening for literature THURSDAY NOVEMBER 19, 2015 19:00Antoine Camilleri: Exhibition tourHilary Spiteri
SUNDAY NOVEMBER 22, 2015 12:00Antoine Camilleri:ŻiguŻajg Festival workshop
for details, please visit www.kreattivita.org
