tag:blogger.com,1999:blog-14394239757990211642024-03-05T13:08:17.953+01:00Hilary SpiteriART | DESIGN | PHOTOGRAPHYAnonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.comBlogger42125tag:blogger.com,1999:blog-1439423975799021164.post-4664135658566839502012-10-28T08:33:00.000+01:002012-10-28T08:33:11.728+01:00Art and Photography in London<div style="text-align: justify;">
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<a href="http://www.nationalgallery.org.uk/whats-on/exhibitions/seduced-by-art-photography-past-and-present" target="_blank"><span style="font-family: Verdana, sans-serif;"><img border="0" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia2yhqbpfJ2aC9UroqNUImFaCH8OfpzxKg9K3LDQ-rD0qNcLi6oHEEi1pkHD3PjSbjGBjYiwLl6tkiUYWFcTEnL9PK3iovP_09hl9xQIWeKy2kIafU4DLULve1yr22GfgHl1_yNV_Ilf4/s640/seduced-by-art-exhibition-range.jpg" width="640" /></span></a></div>
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<span style="font-family: Verdana, sans-serif;"><span lang="EN-US"><span style="line-height: 115%;">In the light of an up and coming exhibition at the </span><span style="line-height: 18px;">National</span><span style="line-height: 115%;"> Gallery London - "<a href="http://www.nationalgallery.org.uk/whats-on/exhibitions/seduced-by-art-photography-past-and-present" target="_blank">Seduced by Art: Photography Past and Present</a>", I came across this article
</span></span><span lang="MT" style="line-height: 115%;">entitled “The Camera comes of Age” </span><span lang="EN-US" style="line-height: 115%;">from The Independent </span><span lang="MT" style="line-height: 115%;">by Adrian Hamilton published on </span><span style="line-height: 115%;">Saturday 27 October 2012. Both events </span><span lang="EN-US" style="line-height: 115%;">mirror what I was lecturing
about on 21st October 2012 at the MIPP Convention 2012. This article take us </span><span lang="MT" style="line-height: 115%;">on </span><span lang="EN-US" style="line-height: 115%;">a</span><span lang="MT" style="line-height: 115%;"> virtual</span><span lang="EN-US" style="line-height: 115%;"> tour </span><span lang="MT" style="line-height: 115%;">through</span><span lang="EN-US" style="line-height: 115%;"> a good number of notable
exhibition</span><span lang="MT" style="line-height: 115%;">s set</span><span lang="EN-US" style="line-height: 115%;"> in </span>illustrious galleries in London which stress the medium as a fine art and sheds light on
various photographers who earned a name in the field.<span lang="EN-US" style="line-height: 115%;"> </span><span lang="MT" style="line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="font-family: Verdana, sans-serif;">The Camera comes of Age<o:p></o:p></span></div>
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Next week the National Gallery mounts its first major photography show. It's a
decisive moment that marks the medium's overdue acceptance as fine art<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">By ADRIAN HAMILTON<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">Saturday 27 October 2012<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">Of all the great art galleries in the world, the
National Gallery in London has proved one of the last to either embrace
photography as a branch of art or as a fit subject for exhibition. Which makes
its first proper show of the relationship between photography and the Old
Masters, opening next week, something of an occasion. It joins, by coincidence,
a veritable host of other photographic exhibitions at the present, Davidson,
Eggleston and others from the Sixties and Seventies at the Barbican, William
Klein and Daido Moriyama at Tate Modern and Hiroshi Sugimoto at Pace in London,
with Henri Cartier-Bresson and Ansel Adams to follow at Somerset House and the
Maritime Museum, next month. Rarely can an audience be quite as well provided
for as London at the moment.<o:p></o:p></span></div>
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The National Gallery may be late on the scene but its timing could hardly be
bettered. With photography increasingly recognised as an art in its own right,
prints from the original negatives by well-known photographers regularly sell
for £5,000 or £10,000 each. When limited-number prints from big names such as
Richard Avedon are concerned, the sums leap to as much as £500,000 and, in the
case of the German photographer Andreas Gursky, between £3m and £4m, as museums
compete with modern-art collectors for the privilege of owning iconic images of
our time.<o:p></o:p></span></div>
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Photography has always vied with painting for a position as a fine art in
itself. What the National Gallery is now seizing on – quite rightly – is the
development in the last decades of an art photography which deliberately looks
back to the high art of the past and the Victorian pioneers of photography as
its model. Large in scale, often monumental in intent, the works now form a
genre all of their own. Placing them side by side with their forebears makes a
wonderful exhibition.<o:p></o:p></span></div>
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Why art photography should have developed in this way is an open question. It
has a lot to do with advances in technology which have enabled artist
photographers to size up their deep single shots into life-scale and to control
the colour and the textures in printing. The best photographers have always
taken care of the printing process but we now have a generation that uses
technology as painters have traditionally used the brush, to refine, to
elaborate and to deepen the effect. It goes deeper than this, however. Over the
last 30 years, and even more in the aftermath of 9/11 and the midst of
recession, there is a retreat from post-Modernism, with its obsession for
irony, jokes and a multi-faceted approach to art, to something much more
detached and classical. Just as many artists after the wars of the last century
stepped back to a kind of cool abstraction, so many artists today are searching
for a kind of melancholic sobriety, a sense of the frozen moment which
photography is uniquely able to provide.<o:p></o:p></span></div>
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Which is where photography entered in the first place. From early on the young
discipline saw itself as a form of art and contender with paintings for
seriousness. The major figures of the Victorian period – Julia Margaret
Cameron, Roger Fenton, Oscar Gustave Rejlander, Gustave Le Gray and the others
represented in the National Gallery show alongside their painting models and
their modern imitators – quite consciously sought not just the dignity of art
but its moral thrust. Cameron, in particular, during the late 1860s and early
1870s walked hand-in-hand with the Pre-Raphaelites and the art of her time in
an effort to combine realistic detail with ethereal sentiment. Place her
portraits, as the exhibition does, side by side with the paintings of George
Frederic Watts and you see precisely the same purpose.<o:p></o:p></span></div>
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So with the still lives of Roger Fenton and other photographers of the mid-19th
century, which aim to replicate both the glowing realism of 17th-century
painters but also their indications of decay and the fragility of beauty. Look
at the seascapes of Gustav Le Gray from the 1850s and you see an artist
reaching out to portray the sublime in the way that Turner was doing.<br />
With nudes, of course, the realism became a problem. While photographers such
as Rejlander bathed their photos in the aura of classical statues and the
painting of Ingres and Botticelli, the photograph gave the female form a living
reality which shocked some and excited others. Art and pornography merged in a
way that even the most erotic works of Velazquez and Goya could never have.<o:p></o:p></span></div>
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And it was the truth of the real which took photography away from art in the
last century to pursue its own courses in the photojournalism made possible by
the 35mm camera, in the avenues opened up by magnification and skewed viewpoint
and in the colour film introduced in the 1930s. For most of the 20th century,
photography didn't vie with painting or refer back to it. It felt it was itself
the art of modernity with no need for a backward or even a sideways look.<br />
The radical thing about the contemporary photographers assembled by the
National Gallery is not just that they look backwards to the traditions of
painting and early photography for their models, but they do it by glorying in
the realism which makes photography unique. Their works ranges from the masters
of the monumental such as the Canadian Jeff Wall and the German Thomas Struth
to the more intimate studies of bathers of Rineke Dijkstra from Holland and the
exploding still lives of Ori Gersht from Israel.<o:p></o:p></span></div>
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Wall famously showed his life-sized narrative picture The Destroyed Room, based
on Delacroix's The Death of Sardanapalus in the form of a negative, back-lit,
in a gallery window in 1978. Struth makes his pictures as large but they are of
scenes in which the people are dwarfed by the space so that the viewer both
looks on and in. Sarah Jones enlarges her pictures of flowers to three or four
times life-size so that every detail is shown and the whole given huge
presence. Dijkstra sharpens the detail of her life-size pictures of bathers by
using fill-in flash photography. Richard Learoyd employs plain, neutral
backgrounds and suffused lighting to give his figures sculptural presences.<o:p></o:p></span></div>
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Magnification on this scale has the effect of bringing the viewer directly into
the picture as much a participant as an observer. It encompasses the viewer as
she or he stands before it. The heightened realism only adds to the effect.
Where painters had to work up their paintings in layers and in meticulous
detail, the photographer has realism at his or her instant disposal. The
drawback of having to complete in a single shot rather than being able, like a
painter, to keep returning to the canvas, is turned to advantage. The subject
is caught in a moment that, properly composed, communicates something beyond the
face or the landscape that is presented. They become faces in your face,
impossible not to be gripped by.<o:p></o:p></span></div>
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The National Gallery exhibition is only part of the story, of course. Where the
contemporary artists in its survey of "photography past and present" are
bent on bettering the photographic process by imitating painting, other artists
are bent on bettering the painting process by drawing in photography. The
history of contemporary art, indeed, could be written in the way in which
painters, following the lead of Gerhard Richter and the example of the Pop
Artists, have incorporated photography into their creative process and how
photographers, learning from modern painters, have pushed their craft away from
realism into the realms of abstraction. Photography and painting, which seemed
to go their separate ways through most of the last century, are now, thanks to
Richard Hamilton, Gerhard Richter, David Hockney and many others, now merging.<o:p></o:p></span></div>
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Anyone interested in the uses of digital photography in art and the possibilities
opened up by inkjet printing need only slip within the National Gallery to the
Sunley Room to see the late Richard Hamilton works, in which the artist both
pays homage to the past masters and grapples with the challenge posed by the
realism of modern reproductive technology. What fascinated Hamilton, as it has
intrigued Hockney, is the extent to which digital enables the painter to
compose and sketch graphic work and, in the printing, to achieve
hyper-realistic effects of colour.<o:p></o:p></span></div>
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Go to almost any show of a contemporary artist and what you are likely to see
is he or she adopting the technology of photography, and often its language, to
express their conceptual art. At Dulwich Art Gallery, the contemporary artist
Clive Head has installed across one wall of a room of Nicolas Poussins, a large
scale painting of a rail terminus. Part of his From Victoria to Arcadia, it is
a painting of the most precise detail but also of unnerving space, a narrative
of passengers and anonymity based on photographs of Victoria tube station but
composed and painted with a traditional eye.<o:p></o:p></span></div>
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It has been colour as much as anything that has really brought art and
photography together. In the era of black-and-white, the photographer reigned
supreme in his own field. Ansel Adams, whose photographs of water and the sea
go on display at London's Maritime Museum next month, showed that photography
could achieve in detail and in depth the sense of the sublime in nature which
painters had so long sought, and in its own way do it better. With faster film
and lighter cameras, photography became the means of commenting on the human
condition and on events in a way which painting seemed too contrived to
compete. The photographers on display at the Barbican's current show of
pictures of the 1960s and 1970s barely gave traditional art a passing glance as
they sought composition in what Cartier Bresson called the "decisive
moment".<o:p></o:p></span></div>
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As the techniques of exposure and printing improved, so photographers became
more "arty" themselves. Just a few hundred yards along Piccadilly
from the National Gallery's show you can see the seascapes of Hiroshi Sugimoto
– to me the finest art photographer of our day – hung alongside Mark Rothko's
late dark abstracts at Pace's new Mayfair Gallery. While at one in horizontal
composition, they are quite different in texture. Where Rothko works in paint,
building it up layer by layer to achieve his effects, Sugimoto is all about
light and exposure. Rothko encloses his pictures firmly within the frame,
Sugimoto's studies of the sea's horizon seem to extend way beyond the frame
into infinity. Both are alike in their ambition to make their separate forms
reach beyond representation into the absolute.<o:p></o:p></span></div>
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At the opposite end of the spectrum of scale, Daido Moriyama, on show at Tate
Modern with William Klein, blows up the close-ups of tights and lips to create
works of abstract force but human and erotic resonance. What the painter has to
do with imagination, the photographer can do by the magnification of detail.
Ansel Adams did it with trees, contemporary photographers do it with the stuff
of urban life.<o:p></o:p></span></div>
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Colour, introduced to film in the Thirties, changed things, as an exhibition
due next month at Somerset House hopes to show. For purists such as Cartier
Bresson it was a dilution of the realism of black and white photography. But
for painters it took photography into the glossy surfaces and hectic pace of
the new consumer world. With it, photography joined advertising, colour
magazines, flashy billboards and brightly-coloured plastic. It was the world in
which the old distinctions between genres had no place. All could be used as
one in the portrayal of life.</span></span><br />
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And yet there remains something distinct about photography, in its realism and
in its relationship with the viewer. Go to any exhibition and you will see
people, young and old, responding without self-consciousness to the picture
before them. There's something about the reality of photographs that needs no
explanation. Which is why so many painters are now incorporating it into their
works.</span></span></div>
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Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com1tag:blogger.com,1999:blog-1439423975799021164.post-34444529934871905332012-10-26T09:41:00.000+02:002012-10-28T07:44:12.426+01:00MIPP Convention 2012<div style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYKJLSyj1NXfI-qr9oJy5pefLcXGP_RwrJPjYvWAUbd-BNLRFLFItuCjH4eGxUgQ5r0trR947ZPTzry2m9s1yN6f33M9A8aSllXyMyT7xFLYh-3SxkmbYTUHtFoi6XJ1BTiQmVW4Rfla4/s1600/October-Programme-FINAL-2012-09-13+11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYKJLSyj1NXfI-qr9oJy5pefLcXGP_RwrJPjYvWAUbd-BNLRFLFItuCjH4eGxUgQ5r0trR947ZPTzry2m9s1yN6f33M9A8aSllXyMyT7xFLYh-3SxkmbYTUHtFoi6XJ1BTiQmVW4Rfla4/s640/October-Programme-FINAL-2012-09-13+11.jpg" width="640" /></a></div>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;">On
the 21st of October 2012, I addressed a lecture to a good number of
professional photographers who attended the MIPP Convention 2012. The lecture
was entitled <b>Art and Photography: Art and its
co-relation with photography 1836-1970</b>. </span><br />
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abstract of the lecture follows:</span></div>
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<a href="http://2.bp.blogspot.com/-bXzvgJvpjXc/UIec5t5L5fI/AAAAAAAADPo/izAeU9KIRJU/s1600/IMG_0392.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="140" src="http://2.bp.blogspot.com/-bXzvgJvpjXc/UIec5t5L5fI/AAAAAAAADPo/izAeU9KIRJU/s200/IMG_0392.jpg" width="200" /></a><i><span style="font-family: Verdana, sans-serif; font-size: x-small;">In the second half of the 19th century, artists were
introduced to a new medium which many believed was to become their main
competitor. Photography affected in a adverse manner artists who at the time
were earning a living out of producing pictorial portraits and fine art
scenery. Contrarily, avant-garde 19th century artists (Manet, Eakins and
Monet) and successively major exponents of Modern Art (Picasso, Duchamp and
Warhol) considered photography as a new medium of expression which helped them
to create and enhance their artistic spirit in an innovative way. Was
photography in competition with the artistic sector or else it was moving in a
parallel direction? In what ways did artists utilise such medium and to what
extent it helped them discover new artistic ways of expression?<o:p></o:p></span></i></div>
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<a href="http://4.bp.blogspot.com/-fhk9zAULvzw/UIec7K8batI/AAAAAAAADP0/S_TDVbabGeM/s1600/IMG_0394.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="133" src="http://4.bp.blogspot.com/-fhk9zAULvzw/UIec7K8batI/AAAAAAAADP0/S_TDVbabGeM/s200/IMG_0394.jpg" width="200" /></a><span style="font-family: Verdana, sans-serif; font-size: x-small;">The
lecture resulted to be a fruitful experience in which several issues were
discussed on Art and photography. It was stressed the importance of photography
as being a form of art. In fact the lecture dealt with the element of having
artists making use of photography for didactic purposes (Thomas Eakins) and
also utilizing such an art form to extend their vision and artistic production
(Manet and Picasso). In return, Photography, as a branch of learning, was later
to benefit and to escalate the realm of fine art.<o:p></o:p></span><br />
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<a href="http://4.bp.blogspot.com/-WCWEdsiud3E/UIec4sbWNhI/AAAAAAAADPg/LVnO7uHEC3k/s1600/IMG_0390.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="115" src="http://4.bp.blogspot.com/-WCWEdsiud3E/UIec4sbWNhI/AAAAAAAADPg/LVnO7uHEC3k/s200/IMG_0390.jpg" width="200" /></a></div>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;">Finally,
I would like to thank the Malta Institute of Professional Photography for once
again granting me the opportunity to lecture and present to the audience an
interesting subject, which I hope it generate artistic conscience and sparked
inspiration in each and everyone who was present.<o:p></o:p></span></div>
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Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-8363198589130887382012-04-16T08:52:00.002+02:002012-10-28T08:07:05.532+01:00Teachers work 53 hours per week on average<span style="font-family: arial, sans-serif; font-size: 18px; line-height: 1.2em; text-align: justify;">Survey: Teachers work 53 hours per week on average</span><br />
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By <span class="author vcard">Valerie Strauss for Washington Post</span></div>
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<i>This was written by Francie Alexander, chief academic officer for Scholastic, Inc. She has has taught at all levels, was a district reading consultant for Pre-K through high school, and has authored numerous professional articles for educators and dozens of books for children.</i></div>
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Teaching is a much talked about yet often misunderstood profession. Educators frequently hear well-meaning comments from parents and friends like “It must be so sweet to spend your days with children” or “How wonderful to be done for the day by three o’clock.” Are they serious?</div>
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Teaching is joyous, but it is also hard work! It is fast-paced, multi-faceted, and complex. I should know. I spent many years as a teacher and it is the hardest and most satisfying work I’ve ever done.</div>
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A new report from Scholastic and the Bill & Melinda Gates Foundation, called <i>Primary Sources: America’s Teachers on the Teaching Profession</i>, finally quantifies just how hard teachers work: 10 hours and 40 minutes a day on average. That’s a 53-hour work week!</div>
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These numbers are indicative of teachers’ dedication to the profession and their willingness to go above and beyond to meet students’ needs. It never was, and certainly isn’t now, a bell-to-bell job.</div>
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The 7.5 hours in the classroom are just the starting point. On average, teachers are at school an additional 90 minutes beyond the school day for mentoring, providing after-school help for students, attending staff meetings and collaborating with peers. Teachers then spend another 95 minutes at home grading, preparing classroom activities, and doing other job-related tasks. The workday is even longer for teachers who advise extracurricular clubs and coach sports —11 hours and 20 minutes, on average. As one Kentucky teacher surveyed put it, “Our work is never done. We take grading home, stay late, answer phone calls constantly, and lay awake thinking about how to change things to meet student needs.”</div>
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The 10,000 teachers surveyed in Primary Sources 2012 convey a very real portrait of the challenges and joys of the teaching profession. They share their thoughtful, nuanced views on both their daily practice and critical issues at the heart of education reform. Here are some more key findings:</div>
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* Teachers are seeing the effects of joblessness and a difficult economy on their students’ families and in the classroom. Fifty six percent of teachers who have been teaching in the same school for five years or more are seeing more students living in poverty, and 49% are seeing more students coming to school hungry.</div>
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<a href="http://www.westfield.ma.edu/personalpages/draker/edcom/final/fa11/sectionb/southcounty/Teachers.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.westfield.ma.edu/personalpages/draker/edcom/final/fa11/sectionb/southcounty/Teachers.jpg" width="320" /></a>* Teachers welcome and are even eager for more frequent evaluation of their practice. Again and again, teachers spoke of the need for feedback on their practice in order to become the best teachers they can be. Plus, they are open to hearing from a variety of sources including principals, peers and parents - and students!</div>
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* Challenges facing students are significant and growing. 46 percent of veteran teachers say they are seeing fewer students prepared for challenging work than when they began teaching in their current schools. The percentage of children who struggle with reading and math is increasing at all socio-economic levels.</div>
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* The majority of teachers are satisfied in their jobs: Eighty nine percent of teachers are either very satisfied or satisfied in their jobs. They also share their reasons for satisfaction and for frustration, and identified the kinds of resources teachers need to be as successful as they can be.</div>
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Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com1tag:blogger.com,1999:blog-1439423975799021164.post-62034907031816908512012-02-16T09:22:00.002+01:002012-02-16T09:23:09.127+01:00Hilary Spiteri on Malta l-Lejla - NET tv re.: Academic Artistic Training in early British Malta<div style="text-align: justify;">
<a href="https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-snc7/310388_155187897906876_155187634573569_258443_780736101_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-snc7/310388_155187897906876_155187634573569_258443_780736101_n.jpg" /></a>Recently, I was invited for an interview regarding my latest publication during the popular afternoon TV show <a href="https://www.facebook.com/pages/Malta-Llejla/155187634573569" target="_blank">Malta l-Lejla</a>.</div>
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Stephanie Spiteri (conductor) hosts this daily early evening magazine show which is balanced between being informative and educational, inquisitive and fun. Daily interviews with people making the news or people less in the limelight, people from our past, people with something interesting to say. </div>
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I was invited for this fourth edition which tackles various aspects of Maltese life and touch on topics which will surely allow our viewers to relax and watch, watch and learn, learn and do! The show is aired daily from Monday to Friday between 17:00-18:45 on NET TV.</div>
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<br /></div>Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-70995589318740162052012-02-15T13:11:00.003+01:002012-02-15T13:11:54.471+01:00Artists and Optics Lecture by Hilary Spiteri<div style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA0tPb22kVbCB_Vc1RtTvVUWPGcR2PldY3wfOMQU0ewzCY78Ov5eAFhVaQuyjB_9ZFuYGV_OXSbuG3j1fNFg13mAKbA0mN2BekZYhrTb0vYh6MmgAn0O8IySwSOSx1I2SXqp9qcCgmY8Q/s1600/Hilary_Spiteri_01.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA0tPb22kVbCB_Vc1RtTvVUWPGcR2PldY3wfOMQU0ewzCY78Ov5eAFhVaQuyjB_9ZFuYGV_OXSbuG3j1fNFg13mAKbA0mN2BekZYhrTb0vYh6MmgAn0O8IySwSOSx1I2SXqp9qcCgmY8Q/s200/Hilary_Spiteri_01.jpg" width="200" /></a><span style="font-size: x-small;">In January 2012 I had the opportunity to address the Malta Institute of Professional Photography members during a lecture entitled 'Artists and Optics -
photography techniques employed by artists 300 years before the advent of photography'. </span></div>
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<span style="font-size: x-small;">The lecture turned out to be a very positive one in which the very first photography techniques employed by artists 300 years before the Deguerrian practices of photography were discussed.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvaR1P09kpMYTXnh2Wnc6Cf7fozvxUyIp2anWD0zTKG_bxlomK3i0_HJ2j3CTFm9fhKNvvxByXs9BOXZz5sIgbKEYBgp1Avo9fusAX9YSdt_AMZ0y18g3FaXPbmG2RVDfWfvhCdkF7z-g/s1600/Hilary_Spiteri_04.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="129" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvaR1P09kpMYTXnh2Wnc6Cf7fozvxUyIp2anWD0zTKG_bxlomK3i0_HJ2j3CTFm9fhKNvvxByXs9BOXZz5sIgbKEYBgp1Avo9fusAX9YSdt_AMZ0y18g3FaXPbmG2RVDfWfvhCdkF7z-g/s200/Hilary_Spiteri_04.jpg" width="200" /></a></div>
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<span style="font-size: x-small;">The lecture was held at Corinthia Hotel, St Georges Bay, St Julians Malta on the 4th of January 2012 at 20:00.</span></div>
</div>Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-5831723432795731042012-02-02T12:14:00.000+01:002012-02-02T12:18:09.486+01:00Academic Artistic Training in early British Malta - The Sunday Times review by Kenneth Zammit Tabona<div style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3tgi57WJEnoz5qzGdkVN1nHSsHeP9jHGaMalpJub-t22SKsipU4cPFrKMr5onTYTmH7vZkEVrNgYzx4RCKti5WHzF1BpysZdbOpNTGdqD7A54uwKuSXXZ0dxdq_EwfGK8dlqaA2XLNVQ/s1600/Final+Cover+Sleeve+-+Copy.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3tgi57WJEnoz5qzGdkVN1nHSsHeP9jHGaMalpJub-t22SKsipU4cPFrKMr5onTYTmH7vZkEVrNgYzx4RCKti5WHzF1BpysZdbOpNTGdqD7A54uwKuSXXZ0dxdq_EwfGK8dlqaA2XLNVQ/s320/Final+Cover+Sleeve+-+Copy.jpg" width="233" /></a></div>
With the decision taken by the government to move the national art collection back to Auberge d’italie from what is still popularly known as Admiralty House in South Street comes the publication of Hilary Spiteri’s Academic Artistic Training in Early British Malta.</div>
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This is an erudite tome that required a humongous amount of research to complete and which casts a revelatory light on a period that was initially obscured in historical turmoil and later absorbed in the great British ideal as laid down by the visionary Prince Consort.</div>
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What comes out loud and clear is what a debt of gratitude we owe to Canon (later Bishop) Francesco Saverio Caruana who was, besides Malta’s premier patriot, hailed as Malta’s Maecenas and who founded and directed the School of Design within the ambit of Malta’s re- established university in 1803 after the disagreeable Napoleonic interlude, which flourished till Caruana’s installation as Bishop of Malta in 1822.</div>
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Born in 1759 into a wealthy Żebbuġ family with strong aristocratic connections, Francesco Saverio was a great patron of the arts and was the prime political mastermind during the turbulent period which saw the final days and expulsion of the Order of Malta, the Napoleonic aberration and the insurrection of the Maltese against it. He was also the chief negotiator who facilitated the transition of Malta from a semimonastic sovereign principality to becoming a jewel in the British King’s crown.</div>
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Much has been written about Mgr Caruana, who still remains a controversial figure in Maltese history depending which end of the political lens one observes him from.</div>
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To have received an accolade from the notoriously difficult and abrasive Governor Thomas Maitland, is enough to show that this statesman brought peace to Malta at a time when Europe was in conflagration.</div>
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His elevation to Bishop of Malta in 1822 marked the beginnings of the accords between Church and State which, believe it or not, are extant even today. His biography was written by his great nephew the Count of Beberrua, Vincenzo Caruana Gatto and is a primary source of reference in Spiteri’s treatise.</div>
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This tome proves two diametrically unrelated theories: one that art is interderivative and that nothing can exist in isolation. Trying to prove otherwise reminds me of those stories of babies raised by wolves ( not Romulus and Remus, of course) who in their post- pubescence had to learn the rudiments of being and acting like a human being.</div>
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Therefore, the history and development of art is like case law; dependent on previous experience whatever anyone says.</div>
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The other theory is that art and politics are and will always be inextricably linked. In Malta this is amply proved by the establishment of that august institution which still exists today: the Society for Arts, Manufactures and Commerce, which though it may sound anachronistic today, represented at its foundation in 1852 the latest in modern academia in accordance with the theories devised by Albert of Saxe- Coburg and Gotha, husband of Queen Victoria and universally known as the Prince Consort.</div>
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It is indeed intriguing to note that the society was set up a year after the great exhibition in London which was by all accounts epochmaking at many levels and which established the British Empire as the primus inter pares of European states.</div>
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The remote outpost of Malta was indeed blessed to have been included in the prince’s intellectually sound plans. It is interesting to note that this was before the opening of the Suez Canal – an event that transformed the economic history of Malta forever, turning a hitherto fossilised and still ecclesiastical ruling class into a dynamic mix with the newly established plutocratic tycoons who established great fortunes in their dealings across the Mediterranean form Gibraltar to Alexandria.</div>
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Visually the book’s impact is minimal and has no pretensions to being what can be termed a coffee table type feast of design and colour. What it does have is a wealth of drawings mistily by Raffaele Caruana that are found in the five portfolios consisting of 440 works found in the reserve collection of the National Museum of Fine Arts.</div>
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I was also intrigued that the plaster casts we have all gazed and studied at the School of Art, which was set up in 1926, has the same plaster casts that were purchased by Francesco Saverio Caruana for his School of Design; this is providential, as towards the middle of the 19th century it became increasingly difficult to use live models as Roman Catholic bigotry and Victorian prurience joined forces to eventually make this impossible.</div>
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Although the casts replicate great works of art like the Apollo of the Belvedere and a number of Parthenon friezes, to mention but a few, there is absolutely no comparison – and believe me I know first- hand – to the real thing.</div>
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No matter how artfully lights are placed a plaster cast remains what it is and can never ever remotely replace the real thing. Yet for decades upon decades Maltese artists had to make do.</div>
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As Sandro Debono, senior curator of the National Museum of Fine Arts, points out in his foreword, Spiteri is the latest in the growing number of researchers whose interest in the National Collection has enriched our knowledge of the history of art in Malta.</div>
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Again, with the reestablishment of the History of Art Department at the University as late as 1988 by Fr Peter Serracino Inglott, the former rector, and Mario Buhagiar who still today is the head of the department, the study of our creative history has been under scrutiny for the past 23 years.</div>
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I well remember two great books which only a couple of decades ago set the trend and changed local bibliography forever; one was the same Buhagiar’s The Iconography of the Maltese Islands and the other was Nicholas de Piro’s The International Dictionary of Artists who Painted Malta.</div>
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These books laid the foundation stone for the vibrant art scene that thrives in Malta today; one which I hope will continue to flourish and place Malta on the international artistic map as a unique island with a unique history, if and when the powers that be understand the need to have a museum of Modern and Contemporary Art besides the extant Fine Arts one.</div>
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Only then will we be able to fully appreciate the artistic activity of this small but spunky island population, which despite all odds tries its best on many counts to disprove Aesop’s fable of the frog and the cow, and more often than not manages to do so.</div>
</div>Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-72065135197661538632011-12-31T08:30:00.001+01:002011-12-31T08:30:45.467+01:00ARTISTS AND OPTICS - Lecture by Hilary Spiteri<div style="text-align: justify;">
<span style="background-color: white;"><b style="color: #505050; font-family: Arial; line-height: 21px; text-align: left;"><span style="color: white;"><span class="il" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; color: #222222;"><span style="font-size: x-small;">________________________________________________________________________________________________</span></span></span></b></span></div>
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<span style="background-color: white;"><b style="color: #505050; font-family: Arial; font-size: 14px; line-height: 21px; text-align: left;"><span style="color: white;"><span style="font-size: 24px;"><span class="il" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; color: #222222;">ARTISTS</span> <span class="il" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; color: #222222;">AND</span> <span class="il" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; color: #222222;">OPTICS</span></span> </span></b><u style="color: #505050; font-family: Arial; font-size: 14px; line-height: 21px; text-align: left;"></u><span style="color: #505050; font-family: Arial; font-size: 14px; line-height: 21px; text-align: left;"> </span></span></div>
<span style="color: #3d85c6; font-family: 'Trebuchet MS', sans-serif; font-size: large;"><b style="background-color: white;">photography techniques employed by artists 300 years before the advent of photography </b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjzTE_sPGsfxVM7V32UVNsdz9WD7FKl5bAPXEyRi_DYy2jMFo1RXDD_m2rYPyW8MvbKvyPJHCcXrkgysZTF0Atg84Nlwe0rsScbWb4RvgDvtyVXgmGt_Xf2ZDfr4bjjAKNbnIZAZIAY-c/s1600/poster.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjzTE_sPGsfxVM7V32UVNsdz9WD7FKl5bAPXEyRi_DYy2jMFo1RXDD_m2rYPyW8MvbKvyPJHCcXrkgysZTF0Atg84Nlwe0rsScbWb4RvgDvtyVXgmGt_Xf2ZDfr4bjjAKNbnIZAZIAY-c/s400/poster.jpg" width="281" /></a></div>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;"><span style="background-color: white;"><span style="text-align: left;"><span style="line-height: 21px;">Hilary Spiteri will be holding a lecture entitled Artists and Optics where he will be discussing the very first </span></span></span><span style="background-color: white; line-height: 21px; text-align: left;">photography techniques employed by <span class="il" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial;">artists</span> 300 years before the Deguerrian practices of photography.</span></span></div>
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<span style="background-color: white; text-align: left;"><span style="line-height: 21px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">The lecture will be held at Corinthia Hotel, St Georges Bay, St Julians Malta on the 4th of January 2012 at 20:00.</span></span></span></div>
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<span style="background-color: white; text-align: left;"><span style="line-height: 21px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><b>The lecture is open to the general public.</b></span></span></span></div>Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-76561038125670138052011-12-26T09:22:00.002+01:002011-12-26T09:22:51.632+01:00Leonardo: A painter at the Court of Milan - A worth visiting exhibition!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYtnajEFvDoR2YlejzES_wj_Vg1wYulBJ_gZKAphPGApQIlMwHcuT11740o1Dtn-APweDmqV-ZSVtOOVBVwiO9Q-KVMyE7zRInCaPeOyhLD9acLCxKE077GOjfDtaG5E-q3rArf02YuuQ/s1600/DSC_0211.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYtnajEFvDoR2YlejzES_wj_Vg1wYulBJ_gZKAphPGApQIlMwHcuT11740o1Dtn-APweDmqV-ZSVtOOVBVwiO9Q-KVMyE7zRInCaPeOyhLD9acLCxKE077GOjfDtaG5E-q3rArf02YuuQ/s320/DSC_0211.jpg" width="320" /></a></div>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;">Artistically
speaking, December 2011 presented me a great opportunity of visiting the
British capital, London, and paying a visit at the world renowned current exhibition:
<b>Leonardo: A painter at the Court of
Milan</b>. <a href="http://patrickjsammut.blogspot.com/" target="_blank">Mr Patrick Sammut</a>, my fellow
colleague, and five students accompanied me throughout this late 15th century
Leonardian tour.<o:p></o:p></span></div>
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<b><span style="font-family: Verdana, sans-serif; font-size: x-small;">Some
information about the exhibition<o:p></o:p></span></b></div>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;">Leonardo da
Vinci: Painter at the Court of Milan’ is the most complete display of Leonardo’s rare
surviving paintings ever held. This unprecedented exhibition – the first of its
kind anywhere in the world – brings together sensational international loans
never before seen in the UK.<o:p></o:p></span></div>
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<b><span style="font-family: Verdana, sans-serif; font-size: x-small;">Leonardo
the artist<o:p></o:p></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSbyKf6X9Wyi0SWWoEX_0dymP6_s1b53akIHj9sqR48oEv-UuRJe5JogIv7I2bdp82TgEvgjDze9Y9M6Fv7wMsgoV-qQqE6ZNtCdO3VZGOT7vhQ67sCZDBpWSSVkqhU6Z9rOaVGJ7SelA/s1600/DSC_0193-Edit.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSbyKf6X9Wyi0SWWoEX_0dymP6_s1b53akIHj9sqR48oEv-UuRJe5JogIv7I2bdp82TgEvgjDze9Y9M6Fv7wMsgoV-qQqE6ZNtCdO3VZGOT7vhQ67sCZDBpWSSVkqhU6Z9rOaVGJ7SelA/s320/DSC_0193-Edit.jpg" width="320" /></a><span style="font-family: Verdana, sans-serif; font-size: x-small;">While
numerous exhibitions have looked at Leonardo da Vinci as an inventor,
scientist or draughtsman, this is the first to be dedicated to his aims and
techniques as a painter. Inspired by the recently restored National Gallery
painting, The Virgin of the Rocks, this exhibition focuses on Leonardo as
an artist. In particular it concentrates on the work he produced as
court painter to Duke Lodovico Sforza in Milan in the late 1480s and 1490s.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;">As a painter,
Leonardo aimed to convince viewers of the reality of what they were seeing
while still aspiring to create ideals of beauty – particularly in his exquisite
portraits – and, in his religious works, to convey a sense of awe-inspiring
mystery.<o:p></o:p></span></div>
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<b><span style="font-family: Verdana, sans-serif; font-size: x-small;">Works
on display<o:p></o:p></span></b></div>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;">Featuring the
finest paintings and drawings by Leonardo and his followers, the exhibition
examines Leonardo’s pursuit for perfection in his representation of the human
form. Works on display include ‘La Belle Ferronière’ (Musée du Louvre,
Paris), the ‘Madonna Litta’ (Hermitage, Saint Petersburg) and ‘Saint Jerome’
(Pinacoteca Vaticana, Rome).<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;">The two
versions of Leonardo’s ‘Virgin of the Rocks’ – belonging to the National
Gallery and the Louvre – were shown together for the first time.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;">The final
part of the exhibition features a near-contemporary, full-scale copy of
Leonardo’s famous ‘Last Supper’, on loan from the Royal Academy. Seen alongside
all the surviving preparatory drawings made by Leonardo for the 'Last Supper',
visitors will discover how such a large-scale painting was designed and
executed.</span><span style="font-family: Calibri, sans-serif;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLCuACoeOkKbyAiSOE88dnARu8IrtYVX3ayfZUBOW9jgffZEgFZSoFtvrFISi3VMNm1g-7y-In6_7DqCHBHeNSooH6GINudZPuXGIU4rFF4fiV0EpmLkEwyvhKQ5oHLiUxqqLqLmzLXJw/s1600/London+Groups+Exhibition.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="139" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLCuACoeOkKbyAiSOE88dnARu8IrtYVX3ayfZUBOW9jgffZEgFZSoFtvrFISi3VMNm1g-7y-In6_7DqCHBHeNSooH6GINudZPuXGIU4rFF4fiV0EpmLkEwyvhKQ5oHLiUxqqLqLmzLXJw/s400/London+Groups+Exhibition.jpg" width="400" /></a></div>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;"><br /></span></div>Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com2tag:blogger.com,1999:blog-1439423975799021164.post-44446861299139894682011-12-23T19:14:00.004+01:002011-12-23T19:15:17.813+01:00Hilary Spiteri featured on MEANDER re: Academic Artistic Training in early British Malta<div class="separator" style="clear: both; text-align: center;">
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/1xMOr47IZ0s?feature=player_embedded' frameborder='0'></iframe><br />
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<span style="background-color: white; color: #333333; font-family: arial, sans-serif; font-size: 13px; line-height: 18px; text-align: left;">Hilary Spiteri interviewed on his latest publication Academic Artistic Training in early British Malta by Mariella Pisani Bencini on MEANDER.</span>Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-77210147251337913352011-12-20T17:44:00.001+01:002011-12-22T14:41:23.004+01:00Hilary Spiteri featured on Il-GENS by Patrick Sammut<div style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAecnd2F8E5hBS16nzsEYQyFSlMVWuw5W1MrREftQsS2oE6AQV8UyfGb-pQQLuRowKazHvCcdtWaN8iRY0AI6N9_T2b_LSE12E4Xn-qSM99KChF3ErI9Zv-sgmrCfgeGuPsVxDopy4uf4/s1600/Print+-+IL-GENSillum_Page_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAecnd2F8E5hBS16nzsEYQyFSlMVWuw5W1MrREftQsS2oE6AQV8UyfGb-pQQLuRowKazHvCcdtWaN8iRY0AI6N9_T2b_LSE12E4Xn-qSM99KChF3ErI9Zv-sgmrCfgeGuPsVxDopy4uf4/s640/Print+-+IL-GENSillum_Page_1.jpg" width="243" /></a><span style="font-family: Verdana, sans-serif; font-size: x-small;"><b><span style="background-color: white; color: #4a4a4a; line-height: 20px;">Hilary Spiteri llum huwa lecturer tal-Istorja tal-Arti fis-Sitt Klassi tal-Kulleġġ ta’ De La Salle. Huwa parti mill-grupp Footprints li jdoqq mużika tal-ġeneru Christian Rock. Huwa wkoll wieħed mill-artisti żgħażagħ kontemporanji u fotografu dilettant. Dan l-aħħar ħareġ il-ktieb tiegħu bl-isem ta’ Academic Artistic Training in Early British Malta. Għal iktar tagħrif wieħed jista’ jara s-sit: www.hilaryspiteri.com</span><span style="background-color: white; color: #4a4a4a; line-height: 20px;"> </span></b></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">L-Intervista:</span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><b>1. X’inhu l-isfond tiegħek f’rabta mad-dinja tal-Arti?</b></span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Fil-prezent nista nghid li l-Arti tinvolvi parti sostanzjali minn hajti. Hija kemm il-professjoni tieghi kif ukoll il-passatemp tieghi. Fuq bazi personali jien involut artisitikament fi produzzjoni ta’ arti pittorika, muzika kif ukoll kitba.</span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><b>2. Minn fejn bdiet l-idea li tippubblika xogħol bħal dan?</b></span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Din ir-ricerka taf il-bidu taghha meta kont ghadni student unversitarju. Infatti l-bicca l-kbira tar-ricerka saret ghall-Masters li jiena ghamilt fid-Dipartiment tal-Istorja tal-Arti fl-Università ta’ Malta. Xi ftit snin wara li wettaqt b’success dan l-istudju, sibt hafna inkoraggiment minn kollegi u hbieb sabiex ngholli din ir-ricerka ghall-livell ta’ publikazzjoni. Minkejja li kienet triq twila u xi mdaqqiet b’hafna ostakoli, nista nghid li l-perseveranza wasslitni sabiex intemm dan il-progett li jaghti gieh lill-istorja ta’ art twelidi.</span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><b>3. X’tittratta eżattament din il-pubblikazzjoni tiegħek? Kemm ħaditlek żmien biċċa xogħol bħal din?</b></span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Il-ktieb bit-titlu 'Academic Artistic Training in early British Malta', joffri studju dettaljat fuq il-pedagogija akkademika artistika li kienet offruta f’Malta fl-ewwel sittin sena tal-hakma kolonjali Ingliza (1800-1860). Dan il-ktieb huwa l-ewwel produzzjoni Maltija li tittratta b’mod dettaljat it-taghlim tal-arti fl-ewwel zminijet bikrija tal-Inglizi f’Malta. </span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Ir-ricerka li wettaqt tul dawn l-ahhar disa’ snin ma kinitx wahda facli. Grazzi ghall-appogg u l-ghajnuna li sibt minn ghalliema u kollegi, fosthom il-Professur Mario Buhagiar, Kap tad-Dipartiment tal-Istorja tal-Arti fl-Università ta’ Malta, u l-hidma kontinwa permezz ta’ ricerka f’dokumenti originali, kemm f’Malta kif ukoll f’pajjizi barra minn xtutna (Ruma u Londra), irrnexxieli nifformola stampa cara tal-istabbilimenti ewlenin f’Malta li kienu joffru mezzi didattici artisitci u min kienu l-ghalliema, studenti u artisti fl-ewwel nofs tas-seklu dsatax.</span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><b>4. Għal min hija mmirata l-aktar? </b></span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Din il-publikazzjoni hija wahda ta’ natura teknika. Ghaldaqstant inhoss li l-element viziv kif ukoll l-adattament tal-kitba jghinu sabiex din il-publikazzjoni sservi bhala passagg li jittratta l-aspetti artistiku, socjali u politiku f’Malta, fl-ewwel snin tal-hakma Ingliza.</span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><b>5. Inħoss li element importanti ħafna f’din il-pubblikazzjoni huwa l-aspett viżiv. Xi tgħid dwar dan?</b></span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">L-aspett viziv ta’ din il-publikazzjoni involva ammont sostanzjali ta’ energija u xoghol sabiex il-prodott ikun wiehed tal-oghla livell. It-tfassil u l-issettjar huwa wiehed ta’ natura semplici u diretta sabiex jagevola lill-qarrej. Min-naha l-ohra, huwa ta’ min japprezza r-rikkezza fotografika tax-xoghlijiet artisitici li toffri din il-publikazzjoni. Kull dettal gie evalwat sabiex il-qarrej ikollu pprovuduta gwida viziva parallela mal-kontenut. </span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><b>6. X’inhi l-importanza ewlenija ta’ ktieb bħal dan? </b></span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Dan il-ktieb jiftah tieqa fuq aspetti interessanti fuq il-perjodu Ingliz ta’ Malta fejn ftit li xejn gie apprezzat u ricerkat. Dan il-ktieb joffri nisga ta’ avvenimenti artistici li sehhew f’Malta u li mmodifikaw l-identita taghna bhala poplu.</span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><b>7. Żgur li Malta qed terġa’ titqiegħed fuq quddiem bi proġett bħal dan. Xi tgħid dwar hekk?</b></span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Malta kellha x-xorti li ghaddiet minn taht l-idejn ta’ diversi hakkiema li ddominaw b’supremazija fl-ibhra tal-Ewropa. Tajjeb li wiehed josserva li meta Malta saret kolonja Ingliza, hija saret parti minn dominju kbir li bla ebda dubju halla impatt qawwi u pożittiv fuq livell amministrattiv u edukattiv. Din il-publikazzjoni titfa’ dawl fuq dan il-progress u kif Malta zammet pari passu mal-medda taz-zmien.</span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><b>8. Xi tgħid dwar it-tagħlim tal-Arti fl-iskejjel Maltin illum? Għamilna pass lura jew ’il quddiem? X’jista’ jsir għall-aħjar?</b></span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">L-arti fl-iskejjel Maltin hadet spinta ’l quddiem. Min-naha l-ohra nahseb li fadal hafna xi jsir sabiex l-istudenti taghna jingħataw formazzjoni artistika kompluta. Personalment inhoss li n-nuqqas ta’ rizorsi presenti fl-iskejjel kif ukoll in-nuqqas ta’ rikonixximent tad-dixxiplina artisitka fuq livell terzjarju qed jillimitaw dan is-suggett. </span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><b>9. Inti kif tirrikonċilja x-xogħol tiegħek ta’ għalliem, l-attività kreattiva tiegħek bħala artist u proġetti ambiżżjużi u ta’ natura akkademika bħal dan il-ktieb tiegħek?</b></span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">L-attività artisitka, il-professjoni tieghi u n-natura akkademika jinvolvu hafna hin u hsieb u ghalqadstant mhux daqshekk facli sabiex wiehed jilhaq kompromess. Min-naha l-ohra nhoss li din hija nisga fejn ghandek elementi differenti li jikkumplimentaw lil xulxin u jaghmlu l-affarijiet aktar interessanti. Dan iservi ta’ stimulu sabiex navvanza aktar ’il quddiem bil-progetti tieghi li ghaldaqstant iservu ta’ kontribut ghas-socjetà li naghmel parti minnha.</span></span></div>
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<span style="background-color: white; color: #4a4a4a; line-height: 20px;"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><i>Intervista ta' Patrick Sammut</i></span></span></div>
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</span>Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-41265972461230096852011-12-20T17:34:00.003+01:002011-12-22T14:41:11.059+01:00Hilary Spiteri featured on MUZAJK by Natasha Turner<div class="separator" style="clear: both; text-align: center;">
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<br />Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-45186449717211671802011-11-28T07:15:00.001+01:002011-12-22T14:41:38.862+01:00Hilary Spiteri interviewed by Natasha Turner on Il-Mument Newspaper<div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: xx-small;">Il-Hadd, 27 ta’ Novembru, 2011 - INTERVISTA</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><b><span class="Apple-style-span" style="font-size: large;">Artist minn kull dimensjoni</span></b><span class="Apple-style-span" style="font-size: x-small;"> </span></span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Natasha Turner tintervista lil Hilary Spiteri</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYmWvR-ULxAY6jJbt9_BzuelvSiy0lgEWcN45Ymi0Zg_i_KjQDNOlE4OWzDlaEpM9-RyQIYX2OLUJBQe3AXQfo9YhYQ597Nxsg43hc1sK2kk6a-ftOq8mpzekbTWJiLILNTZ2d6WmiyfY/s1600/Hilary+Spiteri+-+Copy.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYmWvR-ULxAY6jJbt9_BzuelvSiy0lgEWcN45Ymi0Zg_i_KjQDNOlE4OWzDlaEpM9-RyQIYX2OLUJBQe3AXQfo9YhYQ597Nxsg43hc1sK2kk6a-ftOq8mpzekbTWJiLILNTZ2d6WmiyfY/s400/Hilary+Spiteri+-+Copy.JPG" width="265" /></a></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">L-arti, il-muzika u l-fotografija huma l-akbar passjonijiet tieghu. Ghalkemm fit-tlieta li huma ha tahrig differenti, hu jhoss li huma tliet dixxiplini li jmorru hafna ma’ xulxin u li joffrulu spunt ta’ ispirazzjoni kontinwa. Ghandu wkoll passjoni kbira lejn it-taghlim u l-istorja tal-arti. Il-professjoni ta’ Hilary Spiteri – dik ta’ ghalliem – izzommu f’kuntatt mad-dinja ta’ madwaru filwaqt li l-istudenti tieghu jimlewh bil-hegga u l-kuragg biex ikollu hidma dejjiema. Is-suggett li hu tant ghal qalbu u li specjalizza fih jittratta l-arti akkademika prodotta fl-ewwel zminijiet tal-perjodu Ingliz f’Malta. Din ir-ricerka wasslitu biex jaghmel xi mawriet barraminn Malta biex jirricerka, specjalment f’Ruma. Fil-bidu ta’ dan ix-xahar ippubblika ktieb dwar ir-ricerki tieghu,bl-isem Academic, Artistic Training in Early British Malta. </span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><b>Xi tghidilna dwar il-pubblikazzjoni l-gdida tieghek?</b></span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Il-ktieb jismu Academic Artistic Training in Early British Malta, prodott mill-Allied Publications. Dan joffri studju dettaljat fuq il-pedagogija akkademika artistika li kienet offruta f’Malta fl-ewwel sittin sena tal-hakma kolonjali Ingliza(1800-1860). Dan il-ktieb hu l-ewwel produzzjoni Maltija li tittratta b’mod dettaljat it-taghlim tal-arti fl-ewwel zminijiet tal-Inglizi f’Malta. </span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Ir-ricerka li wettaqt tul l-ahhar snin ma kinitx facli. Grazzi ghall-appogg u l-ghajnuna li sibt mill-ghalliema u mill-kollegi, fosthom il-Professur Mario Buhagiar, il-Kap tad-Dipartiment tal-Istorja tal-Arti fl-Università ta’ Malta, u l-hidma kontinwa permezz tar-ricerka f’dokumenti originali, kemm f’Malta kif ukoll f’pajjizi ohra barra minn xtutna (Ruma u Londra), irrnexxieli nifforma stampa cara tal-istabbilimenti ewlenin f’Malta li kienu joffru l-mezzi didattici artistici u min kienu l-ghalliema, l-istudenti u l-artisti fl-ewwel nofs tas-seklu dsatax.</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Il-ktieb joffri passagg ta’tliet stadji storici li ghadda minnhom pajjizna: it-tmiem tal-hakma tal-Ordni ta’ San Gwann, il-wasla tal-Francizi u l-irvellijiet tal-Maltin li wasslu ghall-hakma Ingliza.Din il-qalba halliet impatt qawwi fuq diversi aspetti, fosthom dawk politici u socjali. Fil-ktieb hemm spjegat b’certa reqqa, il-perijodu tat-transizzjoni li ghadda minnu l-istabbiliment edukattiv Malti. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjedzRWYyPMb70c9OJNcktS-aB4kdIFTxvaeCL2z-9oUr2lR2MMvr5oyr318DKXenrHDNGibnoiZTrmRcP8UiCQr6-YTq1BNLvbFR7lxxozYyYBZRMMfvYMVwB5Wy627ajsCUmZbK0Y9L8/s1600/Final+Cover+Sleeve+-+Copy.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjedzRWYyPMb70c9OJNcktS-aB4kdIFTxvaeCL2z-9oUr2lR2MMvr5oyr318DKXenrHDNGibnoiZTrmRcP8UiCQr6-YTq1BNLvbFR7lxxozYyYBZRMMfvYMVwB5Wy627ajsCUmZbK0Y9L8/s400/Final+Cover+Sleeve+-+Copy.jpg" width="291" /></a><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">It-twaqqif tal-Iskola tad-Disinn fi hdan l-Università ta’Malta – li kienet taht it-tmexxija tal-Kanonku Francesco Saverio Caruana – kienet rivelazzjoni ghall-istudenti Maltin li kellhom ghal qalbhom l-arti u l-industrija. Persunaggi maghrufa fl-istorja tal-arti Maltija, fosthom Michele Busuttil, Giorgio Pullicino, Pietro Paolo Caruana, Raffaele Caruana, MicheleBellanti, Giuseppe Calleja u Giuseppe Calì taw kontribut qawwi f’din l-iskola fejn iggwidaw lill-istudenti Maltin biex imorru jistudjaw l-arti f’akkademji rinomati barra minn xtutna u jaghtu gieh lil pajjizhom. Il-ktieb jittratta diversi elementi relatati mad-didattika artistika. </span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Elementi mportanti hafna msemmi hul-introduzzjoni tal-Iskola tan-Nudo fi hdan l-istess Skola tad-Disinn. Aktar ’il quddiem, f’wiehed mill-kapitli, hemm prezentat studju dwar l-istatwi tal-gibs li jinsabu fl-iskola tal-arti kif ukoll fil-bini tal-Università l-Antika, il-Belt Valletta. Dawn l-istatwi kienu manifatturati u migjubin mill-Ewropa u jafu l-ewwel uzu taghhom propju fl-Iskola tad-Disinn. Ma jonqosx li nsemmi l-istudenti li attendew l-Iskola tad-Disinn. Infatti, rapprezentati wiehed isib mixeghla ta’ disinji maghmula mill-istess studenti Maltin, prizervati fil-Muzew tal-Arti, il-Belt Valletta, fejn jakkumpanjahom hemm studju relatat.</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Personalment ma ghandix hafna pretensjonijiet ghall-arti tieghi. Qatt ma kelli f’mohhi li bl-arti tieghi nohloq xi rivoluzzjoni jew tibdil fid-dinja ta’ madwari. Ghaldaqstant dejjem infittex lix-xoghol tieghi jkun ricerkat kif jisthoqq u li jsir b’certu livell gholi ta’ dedikazzjoni. Jiena nfittex li bl-arti tieghi nohloq tbissima u esperjenza ta’ kulur. Uhud mill-aktar kummenti gratifikanti li qatt ircivejt fuq ix-xoghol tieghi kienu li l-kuluri huma vivaci u l-kompozizzjoni li nohloq inisslu sens ta’ ferh u tbissima f’dak li jkun. Dan ghalija jfisser hafna, ghaliex il-kwadru tieghi jkun wasal biex jolqot il-karattru emottiv ta’dak li jkun espost ghalih. </span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><b>Hemm xi nies li influwenzawk, u b’liema modi?</b></span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">L-involviment tieghi fid-dinja tal-Istorja tal-Arti wassalni biex insir naf hafna aktar fuq artisti varji minn diversi perjodi tal-Istorja tal-Arti. Ghaldaqstant, zewg artisti li tassew jaffaxxinani x-xoghol taghhom huma Rembrandt u J.M.W. Turner. Il-kwalità tat-tessut, kif ukoll il-manipulazzjoni taz-zebgha taz-zejt fil-kwadri ta’ Rembrandt joffru spettaklu ghall-ghajn li mhux ta’ min jitilfu. Min-naha l-ohra, il-freskezza u l-ambjent atmosferiku li Turner jimmortalizza fix-xeni pittorici tieghu jittrasportawni f’dinja kulurita kompletament estranea ghalija.Fuq bazi lokali jattirani hafna d-disinn metikoluz u meqjus tal-artist Emvin Cremona. Barra minn hekk, l-ahhar u mhux l-inqas, artist lokali li tassew halla impatt qawwi fuqi hu Charles Cassar, li kontinwament jarrikkixxi l-karattru artistiku tieghi b’ispirazzjoni immaginattiva u b’forom kuluriti.</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><b>Tahseb li l-Maltin japprezzawha bizzejjed l-arti?</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqyoxVNY8TA4q4ZPUz3a9QdFolRyqx1o0p1lKF9mRUUYzB9tmiaDviXQeXOjmfthbQ6g2Fb1LEQ1RQ3BGDe0iAcUPpU8RRxPzGo2cOzr3zz3VqWM_5I9IfMjkBDrkHILs9blPmoZJfpU8/s1600/The+Fight.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqyoxVNY8TA4q4ZPUz3a9QdFolRyqx1o0p1lKF9mRUUYzB9tmiaDviXQeXOjmfthbQ6g2Fb1LEQ1RQ3BGDe0iAcUPpU8RRxPzGo2cOzr3zz3VqWM_5I9IfMjkBDrkHILs9blPmoZJfpU8/s400/The+Fight.JPG" width="400" /></a><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Il-poplu Malti hu poplu msawwar, sa minn zmien missirijietna, minn ghagna kulturali qawwija – naturalment, kulhadd fuq il-livell personali tieghu. Personalment inhoss li ghalkemm il-poplu Malti ghamel passi ta’ ggant fejn jidhol l-apprezzament artistiku, nahseb li fadal hafna xi jsir fejn tidhol l-edukazzjoni artistika. Jien inhoss li f’Malta l-edukazzjoni artistika hi sottovalutata, bil-kosegwenza li t-tahrig artistiku ingenerali fl-iskejjel Maltin jitqies fuq livell inferjuri jew vokazzjonali. Jiena nemmen li d-dixxiplina artistika, fuq diversi livelli, issawwar bniedem denju tal-istorja li ssawru u tat-twemmin li hu jhaddan!</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Is-socjetà ta’ madwari toffri bosta opportunitajiet. Ghaldaqstant jien ninsab imwegga’ minn sitwazzjoni ta’ menefregizmu (terminu li nhobb nuza hafna u li jfisser:“kulhadd jigi jaqa’ u jqum minn kollox”) li dan l-ahhar sar fenomenu komuni fiz-zghazagh, mhux biss Maltin imma anki globalment. Dan qed iwassal biex qed tkun generata atmosfera ta’nuqqas ta’ interess u hegga,dominata minn uzu abbuziv tad-dinja elettronika. Min-naha l-ohra, fuq livell lokali, jien ninsab urtat fuq in-nuqqas ta’ trasparenza f’kull livell tas-socjetà Maltija, lithaddan dan il-kuncett b’certa sahha. Mhuwiex facli li f’dan l-ambjent wiehed jirnexxi bil-progetti tieghu.</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Hemm hafna affarijiet materjali li wiehed ikun jixtieq f’hajtu, fosthom is-success, ir-reputazzjoni u l-istabbiltà socjali. Ghalkemm, sincerament, inkun qed nonqos jekk ngnid li ma nixtieq xejn minn dan. Biss, nahseb li l-aktar li nixtieq huma affarijiet dejjiema, bhall-kuntentizza interna, li nemmen li twassal ghall-ispirazzjoni dejjiema, il-mutur / muza tal-artist. L-aktar haga li nixtieq fuq bazi lokali hi li l-element zaghzugh jinghata aktar cans ghall-espressjoni u iktar opportunitajiet biex wiehed javvanza u jesponi l-potenzjal tieghu. Inhoss li Malta tkun qed titlef meta diversi individwi jistabbilxxu ruhhom b’success barra minn xtutna minhabba li l-kwalitajiet eccellenti taghhom ma jkunux gew apprezzati, anzi spiccaw imwarrbin.</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: xx-small;">Ghal aktar informazzjoni dwar dan l-artist,wiehed jista’ jzur: </span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: xx-small;">www.hilaryspiteri.com</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: xx-small;">www.hilaryspiteri.blogspot.com</span></div>Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-68613092319173837812011-11-18T07:06:00.001+01:002011-11-23T11:58:29.739+01:00Hilary Spiteri featured on PBS re: Academic Artistic Training in early British Malta<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">The recently published book by Hilary Spiteri, entitled <i>Academic Artistic Training in early British </i>was featured on Malta' national television station PBS. The feature was written by Mr. Sergio Mallia and filmed by Mr. David Gutteridge.</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">The short clip, which was filmed at the National Museum of Fine Arts, Valletta, Malta, summarizes the plot behind this new publication. It also discussed the highlights of this book offering a hands-on exposure of a number of original drawings, preserved in the Maltese national collection, which feature in the said publication. </span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">The feature stresses the importance of this publication as being the first one of its kind in Malta and also about the relevance of this study in our contemporary art practices.</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">The feature was produced in Maltese language.</span></div>
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</div>Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-15455641112550881162011-11-10T17:12:00.002+01:002011-11-10T17:17:51.505+01:00Artistic scenario in early British Malta - www.timesofmalta.com<div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">The makings of an artist.</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">We often look at the finished product – the installation, the painting, the sculpture, the form – forgetting to trace the trajectory that brought the creative process to fruition.</span></div>
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<a href="http://c257.r57.cf3.rackcdn.com/books_02_temp-1320913918-4ebb8bfe-620x348.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="179" src="http://c257.r57.cf3.rackcdn.com/books_02_temp-1320913918-4ebb8bfe-620x348.jpg" width="320" /></a></div>
<a href="http://c257.r57.cf3.rackcdn.com/books_02_1_temp-1320913922-4ebb8c02-620x348.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="178" src="http://c257.r57.cf3.rackcdn.com/books_02_1_temp-1320913922-4ebb8c02-620x348.jpg" width="320" /></a><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Artistic training, whether formal or informal, should not be overlooked, nor underestimated. And this is precisely what artist, educator and author Hilary Spiteri is bringing to the fore in his publication Academic Artistic Training in Early British Malta being presented at this year’s Malta Book Fair.</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Ahead of the presentation of his publication, Mr Spiteri shared some thoughts concerning his research, his choice of subject and context.</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">“Way back, as a student I recall attending a conference at the Old University Building in Valletta. It was then I came across part of the collection of classical plaster casts exhibited in the corridors leading to the Aula Magna. It was love at first sight!”</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Soon after, he was to submit a proposal for a Master’s degree at the University of Malta. After showing interest in the subject and discussing the matter with History of Art head of department Mario Buhagiar, it was decided that he would focus on a chronological and socio-political artistic understanding of the context in Malta during the early 19th century under the newly-established British rule. “This was much needed, especially to bridge Malta’s glorious past under the Order of St John and the newly-set colonisation brought forward by the British.”</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">The purpose of this publication is to contribute as a comprehensive study of academic training and academic artistic production in Malta during the first half of the 19th century. “This is the first publication of its kind to broaden and adjust our perspective of the artistic scenario of early British Malta and to show how, in spite of the decline in official patronage, the University, under the enlightened direction of Mgr Caruana, succeeded in providing Malta with a respectable art academy. This was not an anticlimax but a new beginning and a benchmark development in Maltese Art History.”</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">The book summarises the research conducted by Mr Spiteri for his MA, however, he has re-assessed and amplified some areas of my research, especially the critical analysis provided on the collection of 19th century drawings present at the National Museum of Fine Arts (NMFA) while simultaneously citing reports related to the University of Literature and education in Malta during the first half of the 19th century. He explains how, originally, he had no pretension of featuring any stunning discoveries in his account. However, “Thanks to the help of Theresa Vella and the late Dennis Vella (at the time curators of the NMFA), I came across an invaluable collection of 19th century drawings present at the museum... I believe that this was a major discovery in assessing academic 19th century art in Malta. I strongly affirm that this collection is to be listed as a national treasure.”</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">This publication also presents a thorough research of 19th primary sources. This resulted in the unearthing of a number of practices adopted at the University of Literature at the time. The documents reveal the establishment of the Malta School of Design, its pedagogical programme and its didactic resources. During the process, Mr Spiteri also encountered some very interesting documents affirming the establishment of a life class under the tuition of artist Michele Busuttil. “This was a 19th century milestone in Malta considering the rigid religious conservative attitude prevailing at the time,” he explained.</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">“I also ought to mention a very important report written by Canon Emmanuele Rosignaud in 1839, preserved at the Malta National Archives, which I brought to light. This report offers an outstanding scientific account of the education in Malta during the first half of the 19th century.”</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Mr Spiteri consequently explains how this publication bridges Malta’s Knights period and the British imprint on the islands: “This scarcely-researched period has drawn the attention of a number of art historians, but most of their writings were limited to a general overview, due to the lacunae present in most of the public archives. The merit of the publication thus lies in a much needed attempt to broaden and adjust our perspective of the artistic scenario of early British Malta.” Mr Spiteri hopes that his publication will mark the beginning of a series of studies featuring Malta’s 19th century academic artistic training and the art being produced at the time. “My intention is to pursue in studying this artistic period in depth thereby contributing to the enrichment of art history in Malta.”</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Presently, Mr Spiteri is dedicating his time to promoting his book locally and internationally.</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Meanwhile, as an educator, he is driven by the love and passion to acquire knowledge about his country’s artistic identity, availing himself to further research the ample grounds which this field of study offers. His profession on the other hand together with his artistic activity and production compliment his research and embody his fulfilment.</span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">• <i>Academic Artistic Training In Early British Malta is published by Allied Publications and will be for sale at Word for Word, Castille Place, Valletta and all leading bookshops.</i></span></div>Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-54323972334981999242011-11-01T10:47:00.001+01:002011-11-18T09:41:07.084+01:00Academic Artistic Training in early British Malta by Hilary Spiteri - Available in all leading bookstores<div class="separator" style="clear: both; text-align: center;">
<img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqXS5SiZN7ZeqB9HNi3j618lqqbhf9Aq3O9yCD_1Oa5C7r_bJMlg6HBbWwjYkhtZiNb55M4tgKAp1mHlmjfYJI1KU4ycjZB-tDXhl3GLwXRdoxBLXQ1_spq3WWn7ReUWpcdc8oBgENK5E/s400/Out+now+advert.jpg" width="397" /></div>
<br />Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-71369110500266602912011-10-22T17:52:00.002+02:002011-11-18T09:42:02.736+01:00MIPP Collective Exhibition at Valverde, Sicily<div style="text-align: justify;">
<a href="http://wirtizzejtun2.files.wordpress.com/2011/07/mipp_logo-small.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://wirtizzejtun2.files.wordpress.com/2011/07/mipp_logo-small.jpg" width="189" /></a><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">The Malta Institute of Professional Photography (MIPP) will inauguarate a photographic exhibition under the title ‘Streets of Malta’ on Friday, October 28, at Galleria Fiaf - Le Gru in Valverde(Sicily). </span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Giuseppe Fichera, president of Gruppo Fotografico Le Gru and Santo Mongioì, director of Galleria Fiaf - Le Gru will introduce the event. The exhibition will remain on till November 4, 2011. </span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Exhibited photographic works are by MIPP members: Adrian Camilleri, Alexandra Pace, Andrew Galea Debono, Anthony Grech, Astrid Pardew, George Abdilla, Hilary Spiteri, John Ambrogio, Joseph Herbert, Kevin Casha, Omar Camilleri, Owen Vella, Ruben Buhagiar, Reuben Chircop and Sergio Muscat.</span><br />
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</div>Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-61370500274063303012011-10-16T09:47:00.000+02:002011-10-16T09:47:23.041+02:00ST. Art Project<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpXSFo0k2GQb6haEzAnZnF1Citf0Pu6SIZwr2wQmHe9vI7YYV0j14qXFcy52c09bLFBYUku_RgyCqycJIb0FYr-F52z6840E-BaiCUR0MIUya4WqEl87h9hgGMtKvRVsfBW_B_Om-NR8g/s1600/Untitled-1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpXSFo0k2GQb6haEzAnZnF1Citf0Pu6SIZwr2wQmHe9vI7YYV0j14qXFcy52c09bLFBYUku_RgyCqycJIb0FYr-F52z6840E-BaiCUR0MIUya4WqEl87h9hgGMtKvRVsfBW_B_Om-NR8g/s320/Untitled-1.jpg" width="320" /></a><span class="Apple-style-span" style="background-color: #bdbeb1;"></span><br />
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Recently, I have attended an interesting conference launching a new project under the branding <a href="http://startproject.eu/">ST.ART</a>. This aims to bring together street art forms and art education aimed to be used as a bridge to re-establish communication between young people and local community and to strengthen the sense of common ground and interest.</div>
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The specific objective of the ST.ART project is to help young people acquire the basic life-skills and competences necessary for their personal development, for future employment and for active European citizenship. The main aim of this project is to get to know the difference between aesthetic and street art forms, graffiti and vandalism, and how different choices can lead to different consequences.</div>
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The project aims at encouraging wider arts participation, creative teaching and learning through a new integrated methodology that combines Web 2.0 and Open Sim. This new kind of platforms integration creates a Virtual Learning Environment (VLE) that aims at developing an innovative learning environment in order to:</div>
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<li style="color: #2f2f27; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Arial, Helvetica, sans-serif; font-size: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">- encourage students’ creativity through developing street art works in Open Sim environment.</li>
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The performing arts are used to carry the message and spread information in exciting visual ways that capture the attention of users.</div>
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As MELISSA HUGHES states in her <i>STREET ART & GRAFFITI ART: DEVELOPING AN UNDERSTANDING</i>, “Enabling students to think critically for themselves is unquestionably integral to their development as young adults, and this type of critical thinking can take place inside the art classroom. The artistic process offers infinite opportunities for creative thought, personal expression, and problem solving. When students are deeply engaged in constructing meaning by looking at art, discussing, or constructing it, they grow artistically and personally.”</div>
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Through out the two-day conference one had the opportunity to meet foreign art teachers and share ideas. Very interesting sessions were organised having the intervention of foreign scholars about the subject. Workshop 3 turned out to be an exhaustive but informative featuring Street Art in relation to art history and its proceedings. Following are the number of lectures presented:</div>
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Art assessed over time</div>
Chair: Ms. Monica Fasciani – University of the Studies Guglielmo Marconi<br />
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Overview of art works in Malta</div>
Mr. James M. Grimaud - artist<br />
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The WAVES project: an experience of urban culture</div>
Ms. Simona Galizia – Delegated to the Youth Policy by the Mayor of Civitavecchia - <br />
coordinator project Waves<br />
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Street art or graffiti?</div>
Mr. Cedar Lewisohn – artist, writer and curator<br />
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From street art to urban art</div>
Mr. Dario Morgante – curator of Mondo Bizzarro Gallery in Rome<br />
Being against.<br />
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Remarks on Rebellion and Recognition through the history of art</div>
Ms. Irene Baldriga - teacher<br />
ANISA Associazione Nazionale Italiana Insegnanti di Storia dell’Arte<br />
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<br /></span>Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-29534636598898020952011-10-11T09:13:00.003+02:002011-10-11T09:14:02.505+02:00Academic Artistic Training in early British Malta | Forthcoming publication<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQDlwke1PzVvrN0_kLRJJAOE5dGGr6nnXlvi2h9yyzTpuhZHT4DynuHOx6Vf0Q5TH1O5WB4CRxW98AfKyQ3zxkP37qFZmnswXb-XymhlMn-ITSOP6vJiTclJO7L77Xtb-3jEJ8sSv4bI4/s1600/Final+Cover+Sleeve+-+Copy.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQDlwke1PzVvrN0_kLRJJAOE5dGGr6nnXlvi2h9yyzTpuhZHT4DynuHOx6Vf0Q5TH1O5WB4CRxW98AfKyQ3zxkP37qFZmnswXb-XymhlMn-ITSOP6vJiTclJO7L77Xtb-3jEJ8sSv4bI4/s320/Final+Cover+Sleeve+-+Copy.jpg" width="233" /></a></div>
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<span class="Apple-style-span" style="-webkit-text-size-adjust: none; background-color: white; line-height: 21px;"><b><span class="Apple-style-span" style="color: #3d85c6; font-family: Verdana, sans-serif;">Academic Artistic Training in early British Malta</span></b></span></div>
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<span class="Apple-style-span" style="-webkit-text-size-adjust: none; background-color: white; color: #505050; line-height: 21px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><br /></span></span></div>
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<span class="Apple-style-span" style="-webkit-text-size-adjust: none; background-color: white; color: #505050; line-height: 21px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Hilary Spiteri has woven together the history of the rise and decline of the School of Design, set up by Mgr Francesco Saverio Caruana, and discusses it in a meaningful art historical context. The book summarises the research for a Master’s thesis that he defended in the Department of History of Art at the University of Malta. Its great merit is the way in which it broadens and adjusts our perspective of the artistic scenario of early British Malta and to show how, in spite of the decline in official patronage, the University, under the enlightened direction of Mgr Caruana, succeeded in providing Malta with a respectable art academy. This was not an anticlimax but a new beginning and a benchmark development in Maltese Art History.</span></span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: xx-small;"><em>Professor Mario Buhagiar</em></span></div>
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<strong><span style="color: #3366ff;">The book will be out on November 4, 2011. It will be available for sale from leading book stores and online from <u><a href="http://books.timesofmalta.com/more/9789990931655.shtml?s=2E0B1E25-7F000001-7DB914155346-4583" style="color: #336699; text-decoration: underline;">ALLIED PUBLICATIONS</a></u>.</span></strong></div>
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Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-27641941316920578932011-10-10T08:54:00.001+02:002011-11-18T13:14:23.629+01:00Art in danger!<div class="separator" style="clear: both; text-align: center;">
<a href="http://danpetrosini.files.wordpress.com/2011/02/danger.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><img border="0" height="400" src="http://danpetrosini.files.wordpress.com/2011/02/danger.jpg" width="266" /></span></a></div>
<h3 style="line-height: 13.2pt; margin-bottom: .0001pt; margin: 0cm; text-align: justify; text-justify: inter-ideograph;">
<span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;">I was recently reading <a href="http://www.theartnewspaper.com/">The Art Newspaper</a> and an article entitled ‘Arts education in England threatened’ featured. This brought to my mind our educational progress and reformation and the way it is affecting the humanities, especially art, in our schools. This is something occurring globally and to a certain extent even in Malta’s educational curriculum. Art is demoted and thus being considered as an added or vocational field of study.<o:p></o:p></span></span></h3>
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<span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"><o:p><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;"> </span></o:p></span></h3>
<h3 style="line-height: 13.2pt; margin-bottom: .0001pt; margin: 0cm; text-align: justify; text-justify: inter-ideograph;">
<span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;">Anny Shaw, correspondent for The Art Newspaper brought to the light the concerns brought forward by the Cultural Learning Alliance (CLA) and Arts Council England about the eminent cut of the arts subject from secondary school education in England following the introduction of the English Baccalaureate. As stated, pupils are to be ranked according to grades scored in five core subjects being: maths, English, science, a language and either history or geography.<o:p></o:p></span></span></h3>
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<span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"><o:p><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;"> </span></o:p></span></h3>
<h3 style="line-height: 13.2pt; margin-bottom: .0001pt; margin: 0cm; text-align: justify; text-justify: inter-ideograph;">
<span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;">I believe that the arts are facing a hard time. An increasing interest in generating an empiricist and scientific frame of mind is placing aside the arts. In Malta, the arts have suffered throughout. Since the early nineteenth century, art was one of the major subjects offered in our curriculum, until it was demoted and noted as being an additional subject. Locally, students who have an artistic inclination are being deprived from having the opportunity to study the fine arts. A case in point, Malta’s highest body of education does not offer a degree in fine arts. In turn, students have to find other alternatives. They have to further their studies on a personal basis, either locally or more-likely to attend foreign universities.<o:p></o:p></span></span></h3>
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<span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"><o:p><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;"> </span></o:p></span></h3>
<h3 style="line-height: 13.2pt; margin-bottom: .0001pt; margin: 0cm; text-align: justify; text-justify: inter-ideograph;">
<span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;">One ought to ask; is this the right way to go? The pressure excerpted from the technological progress is to undermine the arts?<o:p></o:p></span></span></h3>
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<span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"><o:p><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;"> </span></o:p></span></h3>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;">Being an educator and art teacher, I daily encounter </span><span lang="MT" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;">a good number of </span><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;">students who lack initiative and creativity. Unfortunately, this is a phenomenon that is gaining momentum quite rapidly in our schools. Contrastingly, these two artistic qualities are also considered as pre-requisites when considering working in well-established technical posts. In fact technical establishments </span><span lang="MT" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;">constantly </span><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;">show their concern that the present generation of apprentices lack the urge to create and produce something innovative in an ever-growing global entity</span><span lang="MT" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;">,</span><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"> where everything is considered as discovered and pre-emptied. </span><span lang="MT" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"><o:p></o:p></span></span></h3>
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<span lang="MT" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"><o:p><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;"> </span></o:p></span></h3>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;">Are we </span><span lang="MT" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;">to compensate for this lack? Should </span><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;">art related subjects further generate and enhance the student’s innate creative abilities?<o:p></o:p></span></span></h3>
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<span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"><o:p><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;"> </span></o:p></span></h3>
<h3 style="line-height: 13.2pt; margin-bottom: .0001pt; margin: 0cm; text-align: justify; text-justify: inter-ideograph;">
<span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;">Is the philosophy of making more attractive science oriented subjects going to be fruitful? Is the shelving of art oriented subjects going to back-fire in the long run? <o:p></o:p></span></span></h3>
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<span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"><o:p><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;"> </span></o:p></span></h3>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;">These are some of the issues which our educational establishments should address. I believe that our education should offer a holistic approach allowing equal opportunities for those students who opt to study the arts. Anna Culter, the director of learning at the Tate and a member of the CLA, hits the bull’s eye when saying that “</span><span lang="MT" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;">i</span><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;">f arts subjects are taught with rigour, they add values and competencies and a capacity to think imaginatively and differently, which we need in a society based on innovation. It's what we valued in the Renaissance, this wide range of knowledge that inspires innovation.” This affirmation should become a main focus in an expanding educational and pedogical conscience. <o:p></o:p></span></span></h3>
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<span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"><o:p><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;"> </span></o:p></span></h3>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;">One finds it difficult to apprehend the way art is growing to become something related with our civilisation’s glorious past, the history of great social eras (Renaissance, Baroque and many others). Our curricula are growing to be more nostalgic rather than generating a sense of belonging through the application of the arts</span><span lang="MT" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;">,</span><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"> which </span><span lang="MT" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;">will </span></span><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;">eventually set the ball rolling in drafting our future.</span><span class="Apple-style-span" style="font-family: Calibri, sans-serif; font-size: 12pt;"><o:p></o:p></span></span></h3>Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-19942614509101216982011-09-10T10:20:00.002+02:002011-09-15T07:08:03.170+02:00Rotta tal-Arti 2011 - The Inauguration - September 9, 2011<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikgdQlH_RoVfpjRSFS830jKXPflTVJ1C_ii2dWs1LgEOGKcU_4u0ODNx9qM7mfk30xavMB92CV6Ffi71Z76FTx0WKIWjBG9dLkm4pJmqpq4CDHB9EMw9sneZo6chSNxARV4NtHvBV5WAM/s1600/IMAG0033.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikgdQlH_RoVfpjRSFS830jKXPflTVJ1C_ii2dWs1LgEOGKcU_4u0ODNx9qM7mfk30xavMB92CV6Ffi71Z76FTx0WKIWjBG9dLkm4pJmqpq4CDHB9EMw9sneZo6chSNxARV4NtHvBV5WAM/s320/IMAG0033.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Resting Boats & The Fight</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">2nd Floor</span></div></td></tr>
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<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span class="Apple-style-span" style="font-size: x-small;"><span style="font-family: Verdana, sans-serif;">Yesterday, I was present at Dar Partit Nazzjonalista for the inauguration of the 6th consecutive exhibition entitled ‘Rotta tal-Arti’. This exhibition, which was inaugurated by the Maltese Prime Minister Dr Laurence Gonzi, forms part of the Malta Independence festivities</span><span lang="MT" style="font-family: Verdana, sans-serif;">,</span><span style="font-family: Verdana, sans-serif;"> which are organised annually in Malta. <o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span class="Apple-style-span" style="font-size: x-small;"><span style="font-family: Verdana, sans-serif;"><br />
</span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span style="font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;">This exhibition is one of the vastest exhibitions annually held in Malta under one roof. It comprises different art forms including sculpture, ceramics, paintings and mixed media.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span style="font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;"><br />
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<tr><td style="text-align: center;"><a href="http://www.pn.org.mt/content/images/1492008135142rotta%20arti%202008%2001.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="124" src="http://www.pn.org.mt/content/images/1492008135142rotta%20arti%202008%2001.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Inauguration of the 2008 exhibition by Prime<br />
Minister of Malta Dr Laurence Gonzi</span></td></tr>
</tbody></table><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span style="font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;">One is also to note that this exhibition honours late famous Maltese artists. In fact a section of this exhibition is dedicated to renowned names such as Wille Apap, Ċensu Apap, Anton Agius, Emvin Cremona, Antoine Camilleri and Victor Diacono. <o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span style="font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;"><br />
</span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span class="Apple-style-span" style="font-size: x-small;"><span style="font-family: Verdana, sans-serif;">My works are exhibited in the second floor of the building. For further information about my works, </span><span lang="MT" style="font-family: Verdana, sans-serif;">‘</span><span style="font-family: Verdana, sans-serif;">The Fight</span><span lang="MT" style="font-family: Verdana, sans-serif;">’</span><span style="font-family: Verdana, sans-serif;"> and </span><span lang="MT" style="font-family: Verdana, sans-serif;">‘</span><span style="font-family: Verdana, sans-serif;">Resting Boats</span><span lang="MT" style="font-family: Verdana, sans-serif;">’</span><span style="font-family: Verdana, sans-serif;">, please follow th</span><span lang="MT" style="font-family: Verdana, sans-serif;">is</span><span style="font-family: Verdana, sans-serif;"> link: <a href="http://hilaryspiteri.blogspot.com/2011/07/rotta-tal-arti-2011.html"><b>Rotta tal-Arti 2011</b></a>.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span class="Apple-style-span" style="font-size: x-small;"><span style="font-family: Verdana, sans-serif;"><br />
</span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span class="Apple-style-span" style="font-size: x-small;"><span lang="MT" style="font-family: Verdana, sans-serif;">Entrance to the </span><span style="font-family: Verdana, sans-serif;">exhibition is free and </span><span lang="MT" style="font-family: Verdana, sans-serif;">it </span><span style="font-family: Verdana, sans-serif;">will be open to the public until the 30th of September 2011.<o:p></o:p></span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWUX4l4Z-5-2cWClC99m-XdOBkAv6_dU-hE7LRs-5fTyHHzVYyac5bKqpCpSOiqvkmP_D0TDh2A_8yUwSm-ZtnMVuTegocmFXTyi6-jUlREAD6PGY5PwdLDPvrcsJ8dy3v7YNsj2r14lY/s1600/hilaryspiteri.com+logo+blog+header.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="48" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWUX4l4Z-5-2cWClC99m-XdOBkAv6_dU-hE7LRs-5fTyHHzVYyac5bKqpCpSOiqvkmP_D0TDh2A_8yUwSm-ZtnMVuTegocmFXTyi6-jUlREAD6PGY5PwdLDPvrcsJ8dy3v7YNsj2r14lY/s640/hilaryspiteri.com+logo+blog+header.png" width="640" /></a></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span class="Apple-style-span" style="font-size: x-small;"><span style="font-family: Verdana, sans-serif;"><br />
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</div>Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-86410420836087185312011-09-05T20:09:00.004+02:002011-09-15T07:03:57.812+02:00Modern Artistic Sensibilities in Maltese Art - The Exhibition<span class="Apple-style-span" style="color: #333333;"><span class="Apple-style-span" style="line-height: 15px;"></span></span><br />
<div style="margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;"></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEdOTwfoGlPJFD0PSHgrn2b86zuDBysCJ3tn-DXChl5J0iIjMsxR7lfhbzoimZsUv22YJtCl6ShW-YfuKv-rnjDuj37QFdXAz8sat8bDeE_s8OK5jlZdp0oJOeeBHBjwT2y4SfvBztcUM/s1600/289628_10150255875654582_30197444581_7512767_366765_o.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEdOTwfoGlPJFD0PSHgrn2b86zuDBysCJ3tn-DXChl5J0iIjMsxR7lfhbzoimZsUv22YJtCl6ShW-YfuKv-rnjDuj37QFdXAz8sat8bDeE_s8OK5jlZdp0oJOeeBHBjwT2y4SfvBztcUM/s200/289628_10150255875654582_30197444581_7512767_366765_o.jpg" width="141" /></a></span></div><span class="Apple-style-span" style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEdOTwfoGlPJFD0PSHgrn2b86zuDBysCJ3tn-DXChl5J0iIjMsxR7lfhbzoimZsUv22YJtCl6ShW-YfuKv-rnjDuj37QFdXAz8sat8bDeE_s8OK5jlZdp0oJOeeBHBjwT2y4SfvBztcUM/s1600/289628_10150255875654582_30197444581_7512767_366765_o.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><br />
</span></a><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><span class="apple-style-span"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;">Recently Heritage Malta has invited me to what I consider as a major event when it comes to reassess Modern Art in Malta. I was present to the official book launch of ‘Pioneers of Modern Art in Malta’ written by Prof Joseph Paul Cassar. This event was accompanied by an exhibition entitled ‘Modern Artistic Sensibilities in Maltese Art’, also curated by Prof Cassar. The exhibition featured </span></span><span class="textexposedshow"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;">Modern works of art from the National Collection and it was held at the National Museum of Fine Arts, Malta. <o:p></o:p></span></span></span><br />
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<div style="margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><span class="Apple-style-span" style="font-size: x-small;"><br />
</span></div><div style="margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><span class="textexposedshow"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;">Heritage Malta in collaboration with Prof Cassar, organised an onsite lecture, in which </span></span><span class="Apple-style-span" style="background-color: white;">Prof Cassar </span><span class="textexposedshow"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;">revisited a good number of the works exhibited. His lecture was a very detailed and </span></span><span class="textexposedshow"><span lang="MT" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;">inspiring</span></span><span class="textexposedshow"><span lang="MT" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;"> </span></span><span class="textexposedshow"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;">one. </span></span></span><br />
<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><span class="textexposedshow"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;"><br />
</span></span></span><br />
<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><span class="textexposedshow"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;">On a personal note, during this lecture, I recalled my past days at the UOM Junior College and University of Malta when I used to attend Prof Cassar’s enriching and well-prepared lectures.</span></span></span></div><div style="margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><br />
</span></div><div style="margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><span class="apple-style-span"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Prof Cassar, who is reputed to be one of the major scholars on Modern art in Malta, in his book, sheds light on the Maltese modern artistic sensibility and states as follows:<o:p></o:p></span></span></span></div><div style="margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><span class="Apple-style-span" style="font-size: x-small;"><br />
</span></div><div style="margin-bottom: 0.0001pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><span class="apple-style-span"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;">“History makes it apparent that modern sensibility in the realm of the visual arts in Malta is a belated experience. This does not take away the efforts brought about through a group effort mainly by the Modern Art Circle, Atelier ’56, The Modern Art Group, The Artists’ Guild, Spectrum ’69 and Vision ’74...”</span></span><o:p></o:p></span></div><div style="margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><span class="Apple-style-span" style="font-size: x-small;"><br />
</span></div><div class="separator" style="clear: both; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiEx5sbI3wSe2PxdRMIWaYhH_2jIuBQVcOk1Y7mMPgzQrKnO1Iq_TOaYWaPmpQI2d6RyppsjvysUeQxPnmUTJlIschv5B1qr3kPquvj_PukYh5NUK4n6xXZan5ILhKPL1-fpN6tKb7kwg/s1600/Prof+JP+Cassar+%2540+NMFA-8.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="color: black; font-family: Verdana, sans-serif; font-size: x-small;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiEx5sbI3wSe2PxdRMIWaYhH_2jIuBQVcOk1Y7mMPgzQrKnO1Iq_TOaYWaPmpQI2d6RyppsjvysUeQxPnmUTJlIschv5B1qr3kPquvj_PukYh5NUK4n6xXZan5ILhKPL1-fpN6tKb7kwg/s640/Prof+JP+Cassar+%2540+NMFA-8.JPG" width="640" /></span></a></div><div style="margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><span class="Apple-style-span" style="font-size: x-small;"><br />
</span></div><div style="margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><b><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Biographical note:</span></span></b></div><div style="margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><span class="Apple-style-span" style="font-size: x-small;"><br />
</span></div><div style="margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqXYfsBEGO_o-LoYAAebWqW2iyAc0P8SwxN9wVBcS6mWV8RnqFPJXGRW0oQ9KgN1-Lsw5eZlZtO32RAAtOpIZ0aZhjLjpU8pc9cqOcyTjPpnicUvzxmOC2A88B-ffs5A3X5vsypAiDDtY/s1600/Prof+JP+Cassar+%2540+NMFA-11.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="color: black; font-family: Verdana, sans-serif; font-size: x-small;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqXYfsBEGO_o-LoYAAebWqW2iyAc0P8SwxN9wVBcS6mWV8RnqFPJXGRW0oQ9KgN1-Lsw5eZlZtO32RAAtOpIZ0aZhjLjpU8pc9cqOcyTjPpnicUvzxmOC2A88B-ffs5A3X5vsypAiDDtY/s200/Prof+JP+Cassar+%2540+NMFA-11.JPG" width="133" /></span></a><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><span class="textexposedshow"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;">Prof Joseph Paul Cassar is a practising artist, art historian, art critic, curator and educator. He was a decisively inspiring academic spearheading the formation of a generation of Maltese scholars, educators and professionals in the field before moving to University of Maryland University College where he is currently Professor of Art. He is also engaged in designing dynamic online art courses for the New York Times Knowledge Network. Professor Cassar is also one of the Malta National Museum of Fine Arts' internationally acclaimed consultants and advisors. </span></span><o:p></o:p></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJWZTsp5BBB0sSK5fMlO_6ZeIiBDDPMWk7LqF157gWLfc3LvnMAIVqvaGI34uRqHPAbUubtoak5GCMmM0y7H5p1uxcL30PzTQgxZUNkdB8n8BLmnfZ4hED4ZCjumdBdAAYbhCj0PdZqQ8/s1600/hilaryspiteri.com+logo+blog+header+-+Copy.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><span class="Apple-style-span" style="color: black; font-family: Verdana, sans-serif; font-size: x-small;"><img border="0" height="46" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJWZTsp5BBB0sSK5fMlO_6ZeIiBDDPMWk7LqF157gWLfc3LvnMAIVqvaGI34uRqHPAbUubtoak5GCMmM0y7H5p1uxcL30PzTQgxZUNkdB8n8BLmnfZ4hED4ZCjumdBdAAYbhCj0PdZqQ8/s640/hilaryspiteri.com+logo+blog+header+-+Copy.png" width="640" /></span></a></div><div style="margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><span class="Apple-style-span" style="color: #333333;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: medium;"><br />
</span></span></div>Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0National Museum of Fine Arts, South Street, Valletta VLT 1101, Malta35.8983336 14.50919239999996135.8981456 14.50896189999996 35.8985216 14.509422899999961tag:blogger.com,1999:blog-1439423975799021164.post-17041608895507086392011-09-04T08:48:00.005+02:002011-09-15T06:55:48.754+02:00Naqraw u Nirrimaw by Therese Pace and Hilary Spiteri<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU461abWbXMOHU3b5syQ3Bc_AYTPY_a4tLl_YPL2tPjiWVOvDZiPoo3EhuJBbropdpyEi3RBv2ET9e87X7CLV02azgcv4CJDEYM0o_sP7FrAMWgWnuQUb0-9jJ1FPFg9STjEWuThysgG4/s1600/naqraw+u+nirrimaw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="602" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU461abWbXMOHU3b5syQ3Bc_AYTPY_a4tLl_YPL2tPjiWVOvDZiPoo3EhuJBbropdpyEi3RBv2ET9e87X7CLV02azgcv4CJDEYM0o_sP7FrAMWgWnuQUb0-9jJ1FPFg9STjEWuThysgG4/s640/naqraw+u+nirrimaw.jpg" width="640" /></a></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><span class="apple-style-span"><span style="line-height: 115%;"><br />
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</span></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><span class="apple-style-span"><span style="line-height: 115%;">In 2009 poet and author Therese Pace and myself set on the market a set of six story/poem books for children</span> entitled <i>Naqraw u Nirrimaw</i>. This series is intended for children attending primary schools. All the six books are fully colour-illustrated picturing </span><span class="apple-style-span"><span lang="MT" style="line-height: 115%;">a </span></span><span class="apple-style-span"><span style="line-height: 115%;">fresh application of the aquarelle medium.</span></span><span class="apple-style-span"><span style="line-height: 115%;"> <span lang="MT"><o:p></o:p></span></span></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><span class="apple-style-span"><span style="line-height: 115%;"><br />
</span></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span class="apple-style-span"><span lang="MT" style="line-height: 115%;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Therese proposes an innovative way of writing and promoting poetry amongst children. In fact the short stories are all intended to compose short poems, which I am pretty sure that are appealent to a young audience. <o:p></o:p></span></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><span class="apple-style-span"><span lang="MT" style="line-height: 115%;"><br />
</span></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><span class="apple-style-span"><span lang="MT" style="line-height: 115%;">The illustrations show a high degree of creativity and immagination and all characters presented were created for the purpose of this series. </span></span><span lang="MT" style="line-height: 115%;"><o:p></o:p></span></span><br />
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<span class="Apple-style-span" style="background-color: white; line-height: 14px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;">To buy book </span><b><a href="http://www.sierra-books.com/pages/siadart.asp?pid=4448"><span class="Apple-style-span">N</span>aqraw u Nirrimaw 1</a></b></span></span><br />
<span class="Apple-style-span" style="background-color: white; line-height: 14px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;">To buy book </span><b><a href="http://www.bdlbooks.com/ages-11-16/775-naqraw-u-nirrimaw-it-tieni-livell.html">Naqraw u Nirrimaw 2</a></b></span></span><br />
<span class="Apple-style-span" style="background-color: white; line-height: 14px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;">To buy book </span><b><a href="http://www.sierra-books.com/pages/siadart.asp?pid=4450">Naqraw u Nirrimaw 3</a></b></span></span><br />
<span class="Apple-style-span" style="background-color: white; line-height: 14px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;">To buy book </span><b><a href="http://www.sierra-books.com/pages/siadart.asp?pid=4451">Naqraw u Nirrimaw 4</a></b></span></span><br />
<span class="Apple-style-span" style="background-color: white; line-height: 14px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;">To buy book </span><b><a href="http://www.sierra-books.com/pages/siadart.asp?pid=4452">Naqraw u Nirrimaw 5</a></b></span></span><br />
<span class="Apple-style-span" style="background-color: white; line-height: 14px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;">To buy book </span><b><a href="http://www.sierra-books.com/pages/siadart.asp?pid=4453">Naqraw u Nirrimaw 6</a></b></span></span><br />
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</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigdC01Bp0wZsB4NNu87vqs-Ks_uhT_wp43niMg0uXE9wAbCcyN2jdjEsmJpE1Xqy7S47ZTsmXf69hI0Zdgj7K_WD8fp-zbzJDaTj2Tgpv9Qz0qAbo_q7CKI7MiIq89KU8KF48u5M966QE/s1600/hilaryspiteri.com+logo+blog+header+-+Copy.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="46" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigdC01Bp0wZsB4NNu87vqs-Ks_uhT_wp43niMg0uXE9wAbCcyN2jdjEsmJpE1Xqy7S47ZTsmXf69hI0Zdgj7K_WD8fp-zbzJDaTj2Tgpv9Qz0qAbo_q7CKI7MiIq89KU8KF48u5M966QE/s640/hilaryspiteri.com+logo+blog+header+-+Copy.png" width="640" /></a></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><span class="apple-style-span"><span lang="MT" style="line-height: 115%;"><br />
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</div>Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-18951497880591167792011-09-03T08:41:00.002+02:002011-09-14T16:53:36.445+02:00L-Għeneb Qed Jiswied u Novelli Ohra by Carmel G. Cauchi<div style="margin-bottom: .0001pt; margin: 0cm; text-align: justify; text-justify: inter-ideograph;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Uyqxcy-oShsnc0kb39qGzTFg0LfI7NocVsuNhWOX0ZD0sbpYP2UbVZMpnBGWprfeP7P7qxhgPQs3RR5bUffZJOx602psZ89ERqwyRDGohHA8CjGF0WsYKQKdn3e8YFXVT4qePImnMKA/s1600/L-gheneb+qed+jiswied.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Uyqxcy-oShsnc0kb39qGzTFg0LfI7NocVsuNhWOX0ZD0sbpYP2UbVZMpnBGWprfeP7P7qxhgPQs3RR5bUffZJOx602psZ89ERqwyRDGohHA8CjGF0WsYKQKdn3e8YFXVT4qePImnMKA/s320/L-gheneb+qed+jiswied.jpg" width="226" /></a><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">‘<i>L-Għeneb Qed Jiswied u Novelli Ohra</i>’ comprises eleven acclaimed short stories which were written by novelist Carmel G. Cauchi in the 1960s. The stories reflect several social aspects including family and marriage elements. <o:p></o:p></span></span></div><div style="margin-bottom: .0001pt; margin: 0cm; text-align: justify; text-justify: inter-ideograph;"><br />
</div><div style="margin-bottom: .0001pt; margin: 0cm; text-align: justify; text-justify: inter-ideograph;"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Cauchi’s outstanding literary qualities were praised at the <i>Konkors Letterarju Farsons</i> in 1986. In fact the winning novel of the contest, <i>L-Għeneb Qed Jiswied</i>, christened this published collection of novels. The examiners noted as follows: <o:p></o:p></span></span></div><div style="margin-bottom: .0001pt; margin: 0cm; text-align: justify; text-justify: inter-ideograph;"><br />
</div><div style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 0cm; margin-top: 0cm; text-align: justify; text-justify: inter-ideograph;"><i><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">“L-eżaminaturi qablu unanimament li n-novella L-Għeneb Qed Jiswied tal-konkorrent li ffirma Dmugħ id-Dielja tingħata l-ewwel premju. Din il-kitba tinqata’ għalkollox mill-oħrajn. Hi ġrajja meħuda mill-ħajja ta’ kuljum, miktuba b’realiżmu ħaj, u bi stil letterarju ta’ livell għoli.” (Mir-Rapport tal-Ġurija, Konkors Letterarju Farsons imniedi mill-ġurnal “Il-ħajja” fl-1986. L-eżaminaturi kienu Dr Rena Balzan, Anton Grasso u John Sciberras.)<o:p></o:p></span></span></i></div><div style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 0cm; margin-top: 0cm; text-align: justify; text-justify: inter-ideograph;"><br />
</div><div style="margin-bottom: .0001pt; margin: 0cm; text-align: justify; text-justify: inter-ideograph;"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">Hilary Spiteri illustrated the front cover. It represents a semi-abstract interpretation of a vine leaf as seen against the light.</span></span><br />
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">To buy book</span><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><b> <a href="http://www.bdlbooks.com/novels-and-romance-fiction/780-l-gheneb-qed-jiswied-u-novelli-ohra.html">L-Gheneb Qed Jiswied u Novelli Ohra</a></b></span><br />
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</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJWZTsp5BBB0sSK5fMlO_6ZeIiBDDPMWk7LqF157gWLfc3LvnMAIVqvaGI34uRqHPAbUubtoak5GCMmM0y7H5p1uxcL30PzTQgxZUNkdB8n8BLmnfZ4hED4ZCjumdBdAAYbhCj0PdZqQ8/s1600/hilaryspiteri.com+logo+blog+header+-+Copy.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="47" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJWZTsp5BBB0sSK5fMlO_6ZeIiBDDPMWk7LqF157gWLfc3LvnMAIVqvaGI34uRqHPAbUubtoak5GCMmM0y7H5p1uxcL30PzTQgxZUNkdB8n8BLmnfZ4hED4ZCjumdBdAAYbhCj0PdZqQ8/s640/hilaryspiteri.com+logo+blog+header+-+Copy.png" width="640" /></a></div><div style="margin-bottom: .0001pt; margin: 0cm; text-align: justify; text-justify: inter-ideograph;"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><br />
</span></span></div>Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-4390931152685512082011-09-03T07:56:00.001+02:002011-09-03T08:03:16.819+02:00Miraggi Lasaljani by Patrick Sammut (ed.)<div class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdY1xqTo95v0YRu3wP9Av5eGHJ2bV9CdjdfXR4e1WBl8DWSIpH9Wja33qNUhyZtI9SqxaIPSFZr-TXLALGMc9X7BFIueCk4xQ_cl-i_YGZoAOl8SYqxHNtPdYBy-zZ9AGkJ7Hlfb3Y2CQ/s1600/Miraggi+Lasalljani.jpg" imageanchor="1" style="clear: right; float: right; line-height: 13.5pt; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdY1xqTo95v0YRu3wP9Av5eGHJ2bV9CdjdfXR4e1WBl8DWSIpH9Wja33qNUhyZtI9SqxaIPSFZr-TXLALGMc9X7BFIueCk4xQ_cl-i_YGZoAOl8SYqxHNtPdYBy-zZ9AGkJ7Hlfb3Y2CQ/s320/Miraggi+Lasalljani.jpg" width="181" /></a><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"><span class="Apple-style-span" style="line-height: 13.5pt;">The book ‘</span><i style="line-height: 13.5pt;">Miraggi Lasalljani</i><span class="Apple-style-span" style="line-height: 13.5pt;">’ inlcudes a compilation of poems, edited by Patrcik Sammut, which was published in 2009 by De La Salle Publications, Malta. The book includes poems from four poets being Joseph Axiaq, Mario Attard, Patrick Sammut and Stephen Cachia, all of them </span><span class="Apple-style-span" style="line-height: 18px;">teachers</span><span class="Apple-style-span" style="line-height: 13.5pt;"> at De La Salle College, Cottonera, Malta. Also, the book includes two </span><span class="Apple-style-span" style="line-height: 18px;">analytic</span><span class="Apple-style-span" style="line-height: 13.5pt;"> studies on the late Bro. Henry Grech FSC and Bro. Michael Buttigieg FSC (Brothers of the La Sallian community). Both Brothers contributed</span></span><span lang="MT" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black; line-height: 13.5pt;">,</span><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black; line-height: 13.5pt;"> through</span><span lang="MT" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black; line-height: 13.5pt;">out</span><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black; line-height: 13.5pt;"> their lives</span><span lang="MT" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black; line-height: 13.5pt;">,</span><span lang="MT" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black; line-height: 13.5pt;"> </span><span lang="MT" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black; line-height: 13.5pt;">to</span><span lang="MT" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black; line-height: 13.5pt;"> </span><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black; line-height: 13.5pt;">Maltese poetry and literature.</span><span lang="MT" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black; line-height: 13.5pt;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 13.5pt; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-justify: inter-ideograph;"><br />
</div><div class="MsoNormal" style="line-height: 13.5pt; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-justify: inter-ideograph;"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;">‘<i>Miraggi Lasalljani</i>’ comprises four sections which are illustrated by young and talented artist Hilary Spiteri. He also matched the publication with a vibrant cover design representing St John Baptist De La Salle and his love for teaching and education.</span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigdC01Bp0wZsB4NNu87vqs-Ks_uhT_wp43niMg0uXE9wAbCcyN2jdjEsmJpE1Xqy7S47ZTsmXf69hI0Zdgj7K_WD8fp-zbzJDaTj2Tgpv9Qz0qAbo_q7CKI7MiIq89KU8KF48u5M966QE/s1600/hilaryspiteri.com+logo+blog+header+-+Copy.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="46" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigdC01Bp0wZsB4NNu87vqs-Ks_uhT_wp43niMg0uXE9wAbCcyN2jdjEsmJpE1Xqy7S47ZTsmXf69hI0Zdgj7K_WD8fp-zbzJDaTj2Tgpv9Qz0qAbo_q7CKI7MiIq89KU8KF48u5M966QE/s640/hilaryspiteri.com+logo+blog+header+-+Copy.png" width="640" /></a></div><div class="MsoNormal" style="line-height: 13.5pt; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-justify: inter-ideograph;"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; color: black;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><br />
</span></span></div>Anonymoushttp://www.blogger.com/profile/04670964420946528388noreply@blogger.com0tag:blogger.com,1999:blog-1439423975799021164.post-61191394630059242122011-09-01T18:57:00.005+02:002011-09-15T06:56:40.189+02:00UNEASY RITUALS - Contemporary Tales from Malta by Patrick Sammut<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"></span></div><div class="separator" style="clear: both; line-height: 18px; text-align: center;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLh1omjfW8IAbb7phgAlyavvoahmql-XPtVOsyurNqs8OceE_8HNQmxie4LhdgSyRt99W_EgG7HFSnR9132qSShTvvMG7ZpHNYZHKe4FandI3Mf4JR3aw9ra6PqwNJyaGFPPvMTl_5wHc/s1600/patrick.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLh1omjfW8IAbb7phgAlyavvoahmql-XPtVOsyurNqs8OceE_8HNQmxie4LhdgSyRt99W_EgG7HFSnR9132qSShTvvMG7ZpHNYZHKe4FandI3Mf4JR3aw9ra6PqwNJyaGFPPvMTl_5wHc/s400/patrick.jpg" width="302" /></a></span></div><div class="MsoNormal" style="line-height: 18px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><span style="line-height: 115%;">This week, a dear friend of mine and colleague, <a href="http://www.patrickjsammut.blogspot.com/">Patrick Sammut</a> paid a visit at my studio. He came forth with his newly published book entitled ‘<b>Uneasy Rituals – Contemporary Tales from Malta'</b>.<span class="Apple-style-span" style="font-size: x-small;"><o:p></o:p></span></span></span></div><div class="MsoNormal" style="line-height: 18px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><span style="line-height: 115%;"><br />
</span></span></div><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"> </span><br />
<div class="MsoNormal" style="line-height: 18px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><span style="line-height: 115%;">The book comprises a collection of meticulously interpreted contemporary stories, which were later translated to English by Alfred Palma. This publication also includes 16 photographic works by me. This was my very first opportunity to have my photographic works published and exposed in such a powerful manner. <o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 18px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><span style="line-height: 115%;"><br />
</span></span></div><div class="MsoNormal" style="line-height: 18px; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><span style="line-height: 115%;">Sammut and I have worked constantly on this project through the very first months of this year. We have discussed and collaborated on the choice of images which were to be featured. Also, I was in charge of </span><span lang="MT" style="line-height: 115%;">laying out</span><span style="line-height: 115%;"> an innovative cover-design complimented by, what </span><span lang="MT" style="line-height: 115%;">I</span><span style="line-height: 115%;"> may describe as</span><span style="line-height: 115%;"> <span lang="MT">a</span></span><span style="line-height: 115%;">, </span><span lang="MT" style="line-height: 115%;">simplistic</span><span style="line-height: 115%;"> but effective page setting. This collaboration resulted to be a fruitful one. I proudly claim my input in this enriching and worth buying book. Thumbs up goes to Patrick Sammut for his excellent creative writing and for allowing me the opportunity to expose my photographic creativity. I highly recommend this book!</span></span></div><div class="MsoNormal" style="line-height: 18px; margin-bottom: 0.0001pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><b><span style="line-height: 115%;"><br />
</span></b></span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-align: justify;"><div style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small;"><b><span style="line-height: 115%;">Patrick Sammut </span></b><span style="line-height: 115%;">was born in Malta in 1968. He studied Maltese and Italian language and literature at the University of Malta, and later obtained a Masters Degree in Contemporary Italian Literature with a thesis on “The Novel of the Resistance Movement”. Between 1994 and 1996 he studied Italian literature and literary criticism at the Università degli Studi of Florence. He teaches Maltese and Italian Language and Literature at De La Salle College since 1992. He is vice-president of the Maltese Poets Association, editor of the poetry magazine <i>VERSI</i>, and coordinator of a literary page of a local and virtual weekly newspaper, <i>Il-Gens</i> <i>illum</i>. He writes poetry in Maltese, English and Italian. He is author of various publications: literary criticism, poetry and short stories for children. His poems were published in both local and foreign journals and magazines. In 2008 he participated in the “Progetto Dante” of Ravenna, together with Maltese poet and translator, Alfred Palma, and won a “Special Mention” in the Nosside international poetry contest. In 2011 he participated in the Gaeta Mediterranean Poetry Festival. He keeps in contact with other poets and writers through e-mail and has a personal blog: </span><a href="http://www.patrickjsammut.blogspot.com/"><span style="line-height: 115%;">www.patrickjsammut.blogspot.com</span></a><span style="line-height: 115%;"> He is married to Rosalie and father of Andrew, Kristina and Matthew.</span></span></div><div style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; line-height: 14px;"><br />
</span></div><div style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; line-height: 14px;"><span class="Apple-style-span" style="font-size: x-small;">To buy book</span> <b><a href="http://www.sierra-books.com/pages/siadart.asp?pid=6100">Uneasy Rituals</a></b></span></div><div style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: x-small; line-height: 14px;"><br />
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