FRANCESCO ZAHRA
YOUR MUŻA CELEBRATING
Il-MUŻA ma jixraqx li tkun biss sensiela ta’ kwadri wieħed ħdejn l-ieħor. Sbieħ kemm huma sbieħ. Il-MUŻA trid tkun tabilħaqq il-Mużew tal-Arti għall-komunità. Biex il-MUŻA tkun tal-komunità, trid tkun qrib il-komunità, qrib in-nies. Din il-wirja hija l-ewwel minn sensiela biex il-MUŻA tilħaq lin-nies u tkun qribhom.
Il-kollezzjoni tal-Arti f’MUŻA hija mportanti ħafna. Imma mhux daqs in-nies. Madankollu l-kollezzjoni hija għodda biex min iżurha joħroġ jaf iktar. Irrid li MUŻA tkun mużew ħaj - mhux iżżurha darba u tista’ ma tmur taraha qatt iktar. Allura, minflok MUŻA tkun ‘palazz tal-antikitajiet’ u tilqa’ fiha biss lil min hu komdu jiddjaloga mal-bieraħ, irriduha tkun relevanti għal-lum billi nonoraw ilbieraħ, nifhmu iktar illum u nħarsu aħjar lejn għada. Qed inbiddlu lill-MUŻA biex nilħqu dawn l-għanijiet. Din il-wirja hija biss wieħed mill-proġetti li għandna. Dalwaqt inkunu qed niftħu iktar il-bibien... iktar minn dak li qed nagħmlu b’din l-ewwel wirja fis-sensiela, MUŻA ĦDEJK.
Heritage Malta diġà għamlet passi kbar biex tbiddel is-siti tagħha. Tmur f’diversi pajjiżi u tismagħhom jgħidu li n-nies m’għadhomx imorru fil-mużewijiet. L-esperjenza tagħna mhux dik. Niftakar meta varajna l-iskema tal-passaporti u ftaħna l-bibien beraħ biex ikollna mużewijiet prattikament b’xejn - iż-żjarat fil-mużewijiet sparaw ‘il fuq mhux bi ftit. Konna ngħidu li l-Maltin ma jridux jafu bil-mużewijiet. Mela interess hemm! In-nies irid ikollhom għalfejn iżuru mużew biex iżuruh. Niftakarni fl-iskola primarja joħduna nżuru xi mużew. Iktar kienet tkun ħarġa milli xi ħaġ’oħra għax jekk tkun żort il-mużew fejn joħduk, se terġa tara dak li kont diġà rajt. Mużewijiet relevanti huma dawk il-mużewijiet fejn inti tħossok milqugħ, fejn issir taf iktar u jkollok tibqa’ taħseb iktar fuq dak li rajt għax ikunu missew temi li għadhom magħna jew li iktar saru jgħoddu għal-lum.
Ma rridux inbiddlu l-mużewijiet tagħna biex inkunu biddilna. Dik bidla li ma ssarrafx, għax ma ttulx. Irridu nbiddlu bi ħsieb, għax nafu fejn irridu mmorru. Min-naħa l-oħra, ma nistgħux nibqgħu indeffsu rasna fil-bieraħ, għax dak ifisser li ma nbiddlu qatt. Għalhekk irridu nifhmu fejn irridu mmorru u għaliex.
Jien nifhem li Heritage Malta għandha responsabbiltà usa milli tieħu ħsieb il-mużewijiet. Għax il-mużewijiet x’inhuma? Huma esperjenzi tal-bieraħ li minnhom tista’ tifhem aħjar illum. Huma xhieda ta’ wirt li niżel minn ġenerazzjoni għal oħra. Bħall-ambjent, il-wirt wasal għandna biex nieħdu ħsiebu għall-ġenerazzjonijiet li ġejjin, mhux biex nagħmlu bih li jiftlilna. Fil-mużewijiet timrah l-identità tagħna lesta biex ngħarfuha.
Din il-wirja ssegwi dil-mixja. Francesco Zahra huwa wirt tal-Isla daqskemm hu patrimonju nazzjonali. Ġejna nsellmulu f’belt twelidu ħa jgħarfu kulħadd.
Mario Cutajar Chairman Heritage Malta
KELMTEJN
QABEL
MUŻA is not merely a display of paintings, one after another - no matter how beautiful they may be. MUŻA is in truth a Museum of Art conceived for the community. For MUŻA to effectively be there for the community, it must be in its midst, it must be among the people. This exhibition is the first of its kind whereby MUŻA reaches out to the people and is by their side.
The Art collection at MUŻA is very important. However, surely not as important as society out there. Nonetheless the collection is a means by which the visitor can become enriched with further knowledge. I wish for MUŻA to be a museum charged with life –it should not be a one-time visit never to be returned to. Hence, instead of MUŻA being a ‘palace of antiquities’ attracting only those who are at home with establishing a dialogue with the yesteryear, we would like it to be relevant to today by honouring the yesterday, better understanding our today and looking ahead towards tomorrow in an enhanced way. Guided by these aims, we are changing MUŻA. This exhibition is but one of the many projects that we have in mind. More doors will be opened soon… and far more than this first exhibition in this series, YOUR MUŻA.
Heritage Malta has already made huge strides to upgrade its sites. When travelling overseas, there is a tendency to hear many say that they no longer visit museums. Our experience, on the other hand, has been quite the contrary. I recall when we had launched the passport scheme and allowed free entrance into our museums - the queues were long and numerous. We had originally been under the impression that the Maltese public was not interested in its museums. How wrong we were! This means that people are interested in visiting museums if they have real reason to. I remember my student days at primary school when we used to be taken out to visit a museum. It was more of an outing rather than anything else especially since the idea of visiting a museum more than once was useless given that what we had seen at a museum the first time round would still be on display on subsequent occasions. The museums that are made relevant are the ones where you feel welcomed, where you can be excited to learn more, where you are encouraged to ponder on what you have seen as it touches upon subjects that still matter and still count till this very day.
It is not our wish to modify our museums simply for the sake of doing so. Such changes do not have long-lasting effects. We need to implement change with the destination in mind. On the other hand, digging our heads into the past is a recipe for disaster as that will not bring change. That is why we need to fully understand where we wish to go and why.
I am well aware that Heritage Malta has a wider responsibility than looking after its museums. As, ultimately, what are museums? They are experiences about yesterday from which one can draw better lessons about today. They are witness to heritage that has been passed down from one generation to the next. Like our natural heritage, we are duty bound to protect our cultural patrimony for the sake of our future generations, and not do with it what we will. Our museums are the bearers of our identity to which we should easily and comfortably relate.
This exhibition treads exactly this path. Francesco Zahra is a legacy of Senglea as much as he is of national importance. Therefore, we have come to his native town to greet him and for all to acknowledge him.
Mario Cutajar Chairman Heritage Malta
FOREWORD
FUQ XIEX INHI DIN IL-WIRJA?
250 sena ilu, Francesco Zahra, l-artist Malti l-iktar magħruf tas-seklu 18, ħa l-aħħar nifs. L-anniversarju tal-mewt tiegħu nebbaħ din il-wirja, li ħa sservi wkoll bħala pjattaforma għal serje speċjali ispirata mill-aċċessibbiltà u l-involviment tal-komunità - żewġ kunċetti imprezzabbli li MUŻA, il-Mużew Nazzjonali tal-Arti għall-Komunità, tħaddan bl-ikbar għożża.
Xogħlijiet mill-Kollezzjoni Nazzjonali, direttament u indirettament marbutin ma’ Francesco Zahra, b’hekk tneħħew mill-mużew u nġabu fil-lokalità li għandha rabtiet intimi mal-ħajja u ż-żmenijiet tal-artist. B’dan il-mod, in-nies tal-Isla issa jistgħu jiċċelebraw it-talenti u l-kisbiet ta’ dan il-pittur Barokk mill-kumdità tal-belt tagħhom stess.
pp. 4-5
pp. 14-15
Dħul u ħruġ tal-wirja Entrance & exit of the exhibition
pp. 10-11, 20 pp. 16-17
Dħul u ħruġ għall-Kor Entrance & exit of the Choir
pp. 6-7 pp. 8-9 pp. 10-11 pp. 8-9 pp. 12-13
pp. 18-19
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WHAT IS THIS EXHIBITION ABOUT?
250 years ago, Francesco Zahra, the most renowned Maltese artist of the 18th century, breathed his last. His death anniversary inspired this exhibition, which will act as the launchpad of a special series founded on accessibility and outreach, both priceless concepts that MUŻA, Malta’s National Community Art Museum, holds very dear.
Works from the National Collection, directly and indirectly related to Francesco Zahra, have thus been taken out of the museum and brought to the locality that has intimate ties with this artist’s life and times. In this way, the community of Senglea can now celebrate the talents and successes of this Baroque painter from the comfort of their very own hometown.
FUQ XIEX INHI DIN IL-WIRJA? WHAT IS THIS EXHIBITION ABOUT? pp. 4-5
MIN KIEN FRANCESCO ZAHRA? WHO WAS FRANCESCO ZAHRA? pp. 6-7
FEJN TWIELED FRANCESCO ZAHRA? WHERE WAS FRANCESCO ZAHRA BORN? pp. 8-9
GĦALFEJN IL-WIRJA QIEGĦDA SSIR HAWN? WHY IS THE EXHIBITION HERE?
X’GĦANDU X’JAQSAM ANTOINE FAVRAY? WHY IS ANTOINE FAVRAY INCLUDED HERE?
INLAQQGĦUK ISSA MA’ FRANCESCO ZAHRA NNIFSU!
LET US NOW INTRODUCE YOU TO FRANCESCO ZAHRA HIMSELF!
L-ORATORJU TAS-SANTISSIMU KURĊIFISS
THE ORATORY OF THE HOLY CRUCIFIX
IL-KWADRI LATERALI FIL-KOR TAL-BAŻILIKA KOLLEĠĠJATA TA’ MARIJA BAMBINA, L-ISLA
THE CHOIR LATERALS OF THE COLLEGIATE BASILICA OF THE NATIVITY OF THE VIRGIN MARY, SENGLEA
KRISTU MAĦRUĠ MILL-QORTI T’ERODI CHRIST LED OUT OF HEROD’S COURT
PJANTA TAL-ORATORJU TAS-SANTISSIMU KURĊIFISS
BIT-TQASSIM TAL-WIRJA
Plan of the oratory of the holy CruCifix with the exhibition layout
pp. 10-11
pp. 12-13
pp. 14 -15
pp. 16-17
pp. 18-19
p. 20
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Għalkemm qatt ma studja barra, Zahra kien pittur notevoli b’karriera mimlija ta’ iktar minn 45 sena. Il-pinzell tiegħu ta ħajja lil ħafna xogħlijiet ta’ altari titulari u laterali, pitturi kbar għall-korijiet u għas-soqfa, kif ukoll tili żgħar devozzjonali. Filwaqt li kienu ta’ popolarità kbira matul is-seklu 18, dawn ix-xogħlijiet reliġjużi jirrappreżentaw l-istil Barokk bil-mod l-iktar emozzjonali, drammatiku u teatrali tiegħu. Ritratti ta’ nies, għalkemm ftit, ukoll jiffurmaw parti mill-attività artistika ta’ Zahra, li kompliet tiżdied permezz tal-ħafna disinji għal għamara ta’ knejjes, reredos tal-altari, altari u artijiet tal-irħam, artefatti tal-fidda u oġġetti artistiċi oħra.
It-tagħlim artistiku ta’ Zahra beda f’daru stress meta kien għadu ċkejken. Missieru, Pietro Paolo (1685-1747), li kien fost l-aqwa skulturi tal-ġebel fi żmienu, kien l-ewwel għalliem u l-ewwel wieħed li ħaddem lit-tifel tiegħu. Waqt li kien qiegħed itejjeb il-ħiliet tiegħu bħala ‘scalpellino’ fil-‘casa bottega’ ta’ missieru, Zahra beda jinduna minn eta’ żgħira li l-pittura kienet l-ikbar passjoni tiegħu. Gian Nicola Buhagiar (1698-1752), ħabib mill-qrib tal-familja Zahra kif ukoll artist rinomat ta’ pitturi reliġjużi, kien l-għalliem ta’ Francesco.
Seklu 18 / 18th century
Żejt fuq tila / Oil on canvas
Heritage Malta, MUŻA
MIN KIEN FRANCESCO ZAHRA?
It-Tħabbira tal-Verġni Marija / Annunciation of theVirgin Mary Gian Nicola Buhagiar (1698-1752)
Mixtrija b’irkant mill-Kollezzjoni G. Borg Olivier, 2010
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Purchased by auction from the G. Borg Olivier Collection, 2010
WHO WAS FRANCESCO ZAHRA?
Never having trained overseas, Zahra was a notable painter whose busy career spanned over 45 years. His brush brought to life numerous titular and lateral altarpieces, choir and large ceiling paintings as well as small devotional canvases. Attracting enormous appeal throughout the 18th century, these religious works represent the Baroque style at its most emotional, dramatic and theatrical. Portraits, though fewer, also form part of Zahra’s artistic activity, which was further enriched by his many designs for church furniture, altar reredoses, marble altars and floors, silver artefacts and objets d’art.
Zahra’s artistic education sprouted at an early age from his very own household. His father, Pietro Paolo (1685-1747), who was one of the foremost stone carvers of the time, was his first mentor and employer. While refining his skills as ‘scalpellino’ in his father’s ‘casa bottega’, the young Zahra soon discovered that painting was his greater passion. Gian Nicola Buhagiar (1698-1752), a very close friend of the Zahra family as well as a renowned artist of religious paintings, was Francesco’s teacher.
Din il-pittura ovali turi t-trattament eżuberanti tal-istil Barokk ta’ Gian Nicola Buhagiar li l-istudent tiegħu, Francesco Zahra, adotta minn żmien bikri tal-karriera artistika tiegħu.
Hemm tlett raġunijiet għalfejn naħsbu biċ-ċert li Buhagiar kien l-għalliem ta’ Zahra. L-ewwel nett, il-ħbiberija mill-qrib ta’ bejn iż-żewġ familji setgħet faċilment wasslet għall-ħsieb li Buhagiar, ta’ esperjenza kbira, kien l-aħjar għażla bħala għalliem għal Zahra li kien promettenti minn età zgħira. It-tieni nett, l-istil jixxiebaħ ħafna bejn ix-xogħlijiet reliġjużi tagħhom, speċjalment dawk bikrin ta’ Zahra tal-1730ijiet. Dan ikompli jsaħħaħ ir-rabta ta’ bejniethom. It-tielet nett, xi sorsi tas-seklu 19 juru b’mod ċar li Buhagiar żgur kien jgħallem lil Zahra.
Minn madwar l-1720ijiet, wieħed jista’ jimmaġina li Buhagiar jkun għallem lil Zahra l-passi neċessarji għall-preparazzjoni u l-applikazzjoni tat-teknika tal-pittura biż-żejt fuq it-tila, waqt li jkun ukoll daħħlu bħala assistent fil-proġetti tiegħu. Iżda minn madwar l-1740ijiet, Zahra beda jitbiegħed mill-influenza tal-għalliem tiegħu, kif jixhdu ż-żewġ pitturi laterali tal-kor fil-Knisja Parrokkjali tal-Isla.
ThisovalpaintingillustratesGianNicolaBuhagiar’sveryexuberanttreatmentofthe Baroque style which his student, Francesco Zahra, adopted from an early phase of his artistic career.
TherearethreereasonstosuggestwithcertaintythatBuhagiarwasZahra’steacher of painting. Firstly, the close friendship between the two artist-families could have easily led to the idea that the experienced Buhagiar was the obvious choice of tutor for the budding Zahra. Secondly, the strong stylistic overlaps between their religious works, especially Zahra’s early paintings of the 1730s, further enforces the connection between the two. Thirdly, some 19th-century sources clearly indicate that Buhagiar was Francesco Zahra’s mentor.
Fromaroundthe1720s,BuhagiarwouldhavetaughtZahrathenecessarystepsfor the preparation and application of oil painting techniques, and even have roped him in as assistant in actual painting projects. However, by the late 1730s and early 1740s, Zahra began to show signs of detachment from his master’s influence as the two side paintings in the choir of the Parish Church of Senglea start to show.
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Francesco Zahra twieled fil-belt iffortifikata marittima tal-Isla. It-tieni wild iżda l-ewwel tifel ta’ Pietro Paolo Zahra u Augustina Casanova, kien mgħammed bħala ‘Vincentius Franciscus’ fil-15 ta’ Diċembru tal-1710. Zahra trabba, għex u ħadem fl-Isla sakemm iżżewweġ lil Teresa Fenech fis-26 ta’ Frar tal-1743 u mar jgħix għal dejjem fil-Belt.
Filwaqt li l-karriera ta’ Zahra bħala pittur issaħħet matul iż-zmien, bħala żagħżugħ xorta kien tgħallem ħafna meta kien għadu jaħdem fil-bottega dinamika ta’ missieru, li kienet tinsab ftit il-bogħod mill-Knisja Parrokkjali. Meta wieħed iqis li l-Isla, u l-Kottonera li kienet tifforma parti minnha, kienu l-post minn fejn ħarġu numru kbir ta’ ‘scalpellini’, kapomastri, skulturi, marmisti u artiġjani oħrajn, Zahra kien tassew ixxurtjat li twieled u għex f’ambjent artistiku daqshekk għani.
fuq Bieb tat-Tabernaklu
“Sacred Heart of Jesus” on a Tabernacle Door
Francesco Zahra (1710-1773)
Żejt fuq injam / Oil on wood
Kollezzjoni tal-Knisja Parrokkjali tal-Isla Senglea Parish Church Collection
FEJN TWIELED FRANCESCO ZAHRA?
“Il-Qalb Imqaddsa ta’ Ġesù”
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WHERE WAS FRANCESCO ZAHRA BORN?
The fortified maritime city of Senglea was the native town of Francesco Zahra. Second child but first son to Pietro Paolo Zahra and Augustina Casanova, he was baptised as ‘Vincentius Franciscus’ on 15th December 1710. Zahra was raised, lived and worked in Senglea until his marriage to Teresa Fenech on 26th February 1743 when he then moved permanently to Valletta.
While gradually emerging as a painter in his own right, Zahra’s adolescence and young adulthood were enriched by his apprenticeship and assistance in his father’s very dynamic workshop, located not too far from the Parish Church. Considering that Senglea, and the Cottonera area of which it forms part, was the birthplace of many capable ‘scalpellini’, master masons, sculptors, ‘marmisti’ and other artisans, Zahra was indeed fortunate in having grown up in such a flourishing artistic scenario.
Dettal mill-Pjanta tal-Belt Valletta u l-Portijiet tal-Madwar
1752
Inċiżjoni / Etching
Kollezzjoni ta’ Mapep ta’ Malta ta’ Albert Ganado Albert Ganado Malta Map Collection Heritage Malta, MUŻA
Volum tal-Magħmudijiet, Vol. 3, 1679-1724, folio 146r Baptismal Records,Vol. 3, 1679-1724, folio 146r
L-Arkivji tal-Knisja Parrokkjali tal-Isla
Senglea Parish Church Archives
F’dan il-volum hemm ir-referenza għall-magħmudija ta’ Francesco Zahra li saret fil-15 ta’ Diċembru tal-1710. Isem l-artist huwa mniżżel bħala ‘Vincentius Franciscus Zahra’. Iżda matul ħajtu kollha baqa’ magħruf bħala ‘Francesco’, jiġifieri bit-tieni isem tiegħu.
In this volume, the baptism of Francesco Zahra, which took place on 15th December 1710, is entered.The artist’s name is registered as ‘Vincentius Franciscus Zahra’. However, throughout his life, he preferred to be known by his second name, ‘Francesco’.
A. F. G. De Palmeus
Detail of Plan ofValletta and the Harbour Environs Gervais
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Din il-wirja kommemorattiva qiegħda ssir f’dan l-Oratorju tas-Santissimu Kurċifiss meraviljuż minħabba li d-dekorazzjoni ta’ ġewwa ġiet iddisinjata mill-missier u t-tifel tassew bravi tal-bottega tal-familja Zahra.
It-tnaqqix u l-lavur fil-ġebel u l-istatwi tal-ġebel impressjonanti li jiddekoraw il-ħitan huma xhieda tal-inventiva u l-kwalità għolja tax-xogħol ta’ Pietro Paolo Zahra. Il-kapaċitajiet straordinarji tiegħu jilħqu livell għoli fl-apside u r-reredos spettakolari tal-altar titulari tal-kurċifiss. Il-wiri teatrali fl-istil Barokk tar-raġġi, is-sħab, il-putti, l-irjus tal-kerubini, il-figuri ċentrali ta’ Alla l-Missier u tal-anġli jew l-‘angeli adoranti’ flimkien joħolqu dehra tassew sabiħa.
L-erba’ pitturi li jirrappreżentaw iċ-ċiklu tal-Passjoni ta’ Kristu kienu l-kontribuzzjoni ta’ Francesco Zahra lil dan il-proġett. Għalkemm kien għadu fil-bidu tal-20ijiet tiegħu meta ħadem fuq dawn ix-xogħlijiet, il-potenzjal f’Zahra ż-żgħir diġà kienet bdiet tidher. Narawha fil-mod kif irnexxielu juża ż-żebgħa, u kif ħoloq kompożizzjonijiet relattivament ibbilanċjati li huma bbażati fuq ix-xejra karatteristika Barokka għad-drama, it-tensjoni u l-emozzjoni.
Fl-Esito Delli Procuratori ‘A’ (p. 70 u p. 72), il-listi tal-ispejjeż, bid-dati 19 ta’ Jannar tal-1739 u l-17 ta’ Jannar tal-1740, jinkludu referenzi għall-4 pitturi taċ-Ciklu tal-Passjoni ta’ Kristu kif ukoll il-gwarniċi tagħhom. In the Esito Delli Procuratori ‘A’ (p. 70 and p. 72), the lists of expenses, dating to 19th January 1739 and 17th January 1740, include references to the 4 paintings of the Cycle of the Passion of Christ as well as their decorative frames.
L-Arkivji tal-Knisja Parrokkjali tal-Isla Senglea Parish Church Archives
GĦALFEJN IL-WIRJA QIEGĦDA SSIR HAWN?
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WHY IS THE EXHIBITION BEING HELD HERE?
This commemorative exhibition is inside this marvellous Oratory of the Holy Crucifix because its interior decoration is by the highly talented father and son of the Zahra family bottega.
The impressive stone carving, moulding and statuary that adorn the walls is testimony to the gifted creativity and hands of Pietro Paolo Zahra. His remarkable abilities culminate in the spectacular apse and altar reredos of the titular crucifix. The Baroque theatrical display of rays, clouds, putti, cherub heads, the crowning God the Father and angel figures or ‘angeli adoranti’ together create a true feast to the eyes.
The four paintings that make up the cycle of the Passion of Christ were Francesco Zahra’s contribution to this project. Although he was still in his early 20s when he executed these canvases, the young Francesco already showed promise. This is seen in the handling of the oil medium, and the reasonably well-balanced compositions that are charged by the characteristic Baroque love for drama, tension and emotion.
Fil-Libro Mastro… ‘A’ (p. 206 u p. 208), hemm referenza għall-gwarniċi ndurati għall-pitturi ta’ Francesco Zahra, u li għalihom il-ħlas kien ta’ 11 l-iskud u 6 tarì. Dan sar f’April tal-1738. Hemm referenza wkoll għall-ħlas ta’ 50 skud f’Mejju tal-1738 lil Pietro Paolo Zahra għal xi xogħol ta’ skultura fl-Oratorju.
In the Libro Mastro… ‘A’ (p. 206 and p. 208), there is a reference to the gilded frames of Francesco Zahra’s paintings for which the payment of 11 scudi and 6 tarì was made in April 1738.There is also a reference to the payment of 50 scudi incurred in May 1738 to Pietro Paolo Zahra for some of his sculptural works in the Oratory.
L-Arkivji tal-Knisja Parrokkjali tal-Isla Senglea Parish Church Archives
Kollezzjoni Numismatika - Il-Mużew Nazzjonali tal-Arkeoloġija, Heritage Malta
Numismatic Collection - National Museum of Archaeology, Heritage Malta
Din hija għażla żgħira ta’ muniti li kienu ħarġu fi żmien il-ħames gran mastri li ggvernaw tul ħajjet Francesco Zahra. Dawn kienu l-muniti li l-artist kien juża u li kien jirċievi bħala ħlas għall-kummissjonijiet tiegħu ta’ pittura.
This is a small sample of the currency dating to the times of the five grand masters under whose respective governance Francesco Zahra lived.So, these would have been the coins that the artist was directly familiar with and received as payment for his painting commissions once completed.
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X’GĦANDU X’JAQSAM ANTOINE FAVRAY?
Antoine Favray, l-artist imwieled Bagnolet, huwa inkluż f’din il-wirja għax kien jaf, jammira u ħadem għal ftit ma’ Francesco Zahra. Fl-1744, wara ftit snin f’Ruma, wasal Malta fejn baqa’ jgħix sa mewtu fl-1798.
Favray sar l-iktar artist imfittex mill-Ordni ta’ San Ġwann, in-nobbiltà Maltija u l-elit. Il-Knisja wkoll fdatu b’kummissjonijiet, għalkemm il-pożizzjoni ta’ Zahra bħala l-iktar artist prominenti tal-pittura reliġjuża baqgħet b’saħħitha għat-30 sena li dawn iż-żewġ artisti ħadmu fl-istess żmien.
Ritratti majestużi u xeni domestiċi attrajenti mill-ħajja soċjali tas-seklu 18 kienu l-ispeċjalità ta’ Favray. Ix-xogħol reliġjuż tiegħu juri verżjoni kalma tal-istil Barokk li ħalliet impressjoni konsiderevoli fuq Zahra, kif jixhdu t-trattament tal-kompożizzjonijiet u l-kuluri fil-pitturi tiegħu mill-1750ijiet.
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WHY IS ANTOINE FAVRAY INCLUDED HERE?
Antoine Favray, the Bagnolet-born artist, is included in this exhibition because he knew, admired and briefly collaborated with Francesco Zahra. In 1744, after a few years in Rome, he came to Malta making it his permanent home till his death in 1798.
Favray established himself as the most sought-after artist for the Order of St John, the Maltese nobility and the elite. The Church too entrusted him with commissions, although Zahra’s predominant position as the foremost artist of religious painting remained securely intact throughout the 30 years that they worked concurrently.
Majestic portraits and attractive domestic scenes from 18th-century high society life were Favray’s speciality. His religious paintings reveal a sobre version of the Baroque style which left quite an impression on Zahra, as the tempered treatment of his compositions and palette show in his works dating from the 1750s.
San Franġisk ta’ Assisi jirċievi l-Istigmata
St Francis of Assisi receiving the Stigmata
Antoine Favray (1706-1798) 1759
Żejt fuq tila / Oil on canvas
Heritage Malta, MUŻA
Mixtri minn irkant għall-Mużew permezz ta’ fondi mill-Fundazzjoni O. F. Gollcher fl-1994.
Purchased by auction for the Museum through the funds of the O. F. Gollcher Foundation in 1994.
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INLAQQGĦUK ISSA MA’ FRANCESCO ZAHRA NNIFSU!
Dan huwa Francesco Zahra ta’ madwar 45 sena, jgawdi l-glorja tal-quċċata tal-karriera artistika tiegħu.
Zahra jirrappreżenta lilu nnifsu jħares direttament lejna, għal ftit mumenti mdawwar lil hinn minn xogħlu fuq tila ta’ ‘capriccio’ jew rovina ta’ arkitettura Klassika. Ma nafux għalfejn għażel tema bħal din minflok waħda reliġjuża. Jista’ jkun għax ried juri kemm kien kapaċi jpitter kull tip ta’ suġġett. Daqstant mhux tas-soltu huwa t-turban li liebes fuq rasu li qed titfartas. Zahra, bil-leħja mqaxxra, ried jidher tal-moda, kif jixhdu ħwejjġu raffinati, kif ukoll eżotiku u kemmxejn eċċentriku bil-mod kif qiegħed juri l-misluta tad-deheb li biha qiegħed jiftaħar.
Bil-palett f’idu x-xellugija u bil-pinzell f’idu l-leminija ppużata, dan Zahra mimli bih innifsu qiegħed juri lilu nnifsu f’nofs l-att tal-professjoni tiegħu. Dik ir-ras imdawwra b’ċertu vanità u dik il-poża artifiċjali ta’ madwar 270 sena ilu, juruna kemm Zahra kien kburi bil-kisbiet tiegħu bħala artist f’Malta tas-seklu 18.
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This is Francesco Zahra – in his mid-40s, basking in the glory of the peak of his artistic career.
Zahra portrays himself looking directly at us, momentarily turned away from his work on a canvas of a ‘capriccio’ or a Classical architectural ruin. Why he chose such a theme rather than a religious one is not known. Perhaps he wanted to show off his artistic versatility at capturing any kind of subject. Equally unusual is the turban he sports on his balding head. It seems that the clean-shaven Zahra wanted to appear fashionable, judging also from his fine clothes, as well as exotic and somewhat eccentric as the gold earring he flaunts reveals.
Palette in his left hand and brush in his gracefully poised right hand, the self-assured Zahra has captured himself in the act of his metier. That conceited turn of head and affected pose of body is Zahra, from around 270 years ago, proudly declaring to us his accomplishments as an artist in 18th-century Malta.
Dan huwa l-uniku awto-ritratt ta’ Francesco Zahra li nafu bih s’issa. Kien mixtri għall-Mużew fl-1960 mill-bejgħ permezz ta’ rkant tal-kollezzjoni tan-Nutar Francesco Catania. M’hemm l-ebda informazzjoni fuq min kien is-sid ta’ qabel ta’ din il-pittura, sakemm mhix l-istess waħda li oriġinarjament kienet fil-pussess ta’ Prassede, it-tifla ta’ Francesco Zahra. Fil-5 t’Awwissu tal-1772, kważi sena qabel mewtu, Francesco Zahra għamel testment fejn ħalla awto-ritratt lill-unika tifla tiegħu.
Min jaf jekk ix-xogħol imsemmi fit-testment huwiex dak imdendel hawn jew jekk huwiex qiegħed jirreferi għal xi awto-ritratt ieħor li għadu qatt ma nstab? Fl-aħħar mill-aħħar, għallinqas għandna din il-pittura li nistgħu napprezzaw. Din tibqa’ l-uniku mezz kif nistgħu noqorbu lejn dan l-artist, imwieled fl-Isla li, b’karriera prolifika ta’ iżjed minn 45 sena, iddomina x-xena tas-seklu 18.
This is the only known self-portrait by Francesco Zahra. It had been bought for the Museum in 1960 from the auction sale of Notary Francesco Catania’s collection.There is no information on the previous ownership of this painting unless it was one and the same work that originally belonged to Prassede, Francesco Zahra’s daughter. On 5th August 1772, almost a year before his death, Francesco Zahra drew up a will in which he left a self-portrait to his one and only daughter.
Who knows if the work mentioned in the will is the one hanging here or in reference to another self-portrait that has not yet seen the light of day? Nonetheless, we have this paintingtoappreciate,anditistheclosestwecangettothisimportantSenglean-born artist who, with a prolific career of over 45 years, dominated the 18th-century scene.
Awto-Ritratt
Self-Portrait
Francesco Zahra (1710-1773)
Madwar l-1750ijiet
c. 1750s
Żejt fuq tila / Oil on canvas
Heritage Malta, MUŻA
LET US NOW INTRODUCE YOU TO
FRANCESCO ZAHRA HIMSELF!
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L-ORATORJU TAS-SANTISSIMU KURĊIFISS
Dan l-Oratorju tas-Santissimu Kurċifiss tassew elaborat, li kien tlesta lejn l-aħħar tal-1730ijiet, huwa verament vetrina mill-isbaħ tat-talenti artistiċi ta’ Pietro Paolo u Francesco Zahra, il-familja tagħhom imlaqqma bħala ‘Tal-Iscarpellin’. Flispirtu tassew Barokk, l-iskultura donnha tinħall fl-arkitettura u tqanqal ammirazzjoni. Hija ħasra li x-xogħlijiet tal-irħam ta’ Carlo Durante, marmista distint mill-Isla li ta’ spiss ikkollabora mal-bottega Zahra, ma jeżistux iżjed wara li ġarrbu ħsarat fit-Tieni Gwerra Dinjija.
Impittrin fin-nofs jew lejn l-aħħar tal-1730ijiet, l-erba’ tili ta’ Francesco Zahra jirrappreżentaw iċ-Ċiklu tal-Passjoni ta’ Kristu. Hawnhekk qegħdin naraw l-“Agunija fil-Ġnien ta’ Ġetsemani”, il-“Flaġellazzjoni”, it-“Tqegħid tal-Kuruna tax-Xewk” u l-“Waqgħa ta’ Kristu bis-Salib”.
Agunija fil-Ġnien ta’ Ġetsemani / Agony in the Garden
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Flaġellazzjoni / Flagellation
THE ORATORY OF THE HOLY CRUCIFIX
The lavish interior of this Oratory of the Holy Crucifix, completed by the late 1730s, is indeed a superb showcase of the artistic talents of Pietro Paolo and Francesco Zahra, whose family nickname was ‘Tal-Iscarpellin’. In true Baroque spirit, sculpture merges with architecture leading to an overall awe-inspiring feeling. It is a pity that the marble works by Carlo Durante, a very distinguished ‘marmista’ from Senglea who often collaborated with the Zahra bottega, no longer exist following damage due to the Second World War.
Painted in the mid- or late 1730s, Francesco Zahra’s four canvases make up the Cycle of the Passion of Christ. They represent the “Agony in the Garden”, the “Flagellation”, the “Crowning with Thorns” and the “Falling of Christ with the Cross”.
Tqegħid tal-Kuruna tax-Xewk / Crowning withThorns
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Waqgħa ta’ Kristu bis-Salib / Falling of Christ with the Cross
IL-KWADRI LATERALI FIL-KOR TAL-BAŻILIKA KOLLEĠĠJATA TA’ MARIJA BAMBINA, L-ISLA
Francesco Zahra ġie kkummissjonat biex ipitter iż-żewġ laterali tal-kor, “It-Tħabbira tal-Verġni Marija” u l-“Preżentazzjoni tal-Verġni Marija”. Iddatati 1741, sentejn qabel ma żżewweġ u telaq mill-Isla, dawn iż-żewġ tili juru kemm il-kunfidenza ta’ Zahra fih innifsu bħala artist kienet bdiet tikber sew. Nindunaw kemm ħalla warajh l-istil ta’ Gian Nicola Buhagiar, li kellu influwenza qawwija fuq ix-xogħlijiet bikrin tiegħu bħal dawk fl-Oratorju li kien lesta xi ftit snin qabel. Permezz ta’ kompożizzjonijiet organizzati b’reqqa, li jistgħu faċilment jintgħarfu, it-trattament kompetenti tad-dawl u d-dell u l-kwalitajiet maħlula taż-żebgħa, Zahra juri kemm kien irnexxielu jikseb għarfien awtonomu fuq l-espressjoni Barokka.
Ta’ min insemmu li hemm iżjed pitturi ta’ Francesco Zahra fil-Knisja Parrokkjali. Hemm xi uħud li huma parti mill-‘Via Crucis’ u hemm ukoll l-“Immakulata Kunċizzjoni” li tinsab fil-Kappella tas-Sagrament.
It-Tħabbira tal-Verġni Marija Annunciation of theVirgin Mary Francesco Zahra (1710-1773)
1741
Żejt fuq tila / Oil on canvas
Knisja Parrokkjali, L-Isla Parish Church, Senglea
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