Malta’s Self-Portraits: A Journey Inwards

Standing in the hushed, vaulted space of the Muza, Malta’s national museum of fine arts, I find myself face to face with a familiar stranger. It’s not my reflection in the glass case that catches my eye, but the intense gaze of Retratto di un Artista, a self-portrait by Maltese artist Esprit Barthet. The painting, a swirl of bold brushstrokes and vibrant colour, seems to ask, “Who are we, when we look at ourselves?”

Art has long been a mirror held up to the human face. From the Renaissance to the present day, artists have turned their gaze inwards, using their self-portraits as a means of self-exploration and expression. In Malta, this tradition is no different. From the introspective works of Barthet to the provocative selfies of contemporary artists likeustin Galea, the self-portrait has been a constant thread in our artistic tapestry.

But what makes a self-portrait more than just a reflection? What happens when the artist becomes the subject, the creator, and the critic? To understand this, we need to look beyond the canvas, into the artist’s studio, their mind, and their world.

I venture to the quiet, sun-drenched studio of Justin Galea, tucked away in a converted warehouse in Mosta. Here, amidst the chaos of paint tubes, brushes, and half-finished canvases, Galea speaks of his self-portraits as a means of understanding his own identity and the world around him.

“Self-portraits are a way of exploring my own psyche,” he says, holding up a vibrant, distorted selfie. “They’re a way of asking, ‘Who am I? What do I look like? What do I want to say?'”

Galea’s work is a far cry from the traditional self-portraits of the past. His are bold, digital explorations, often incorporating elements of popular culture and social commentary. They’re a reflection not just of the artist, but of the world he inhabits.

Back in Valletta, I find myself drawn to the quieter, more introspective works of Esprit Barthet. His self-portraits, painted in the late 19th and early 20th centuries, are a window into a different time. Yet, they too are a reflection of their creator, a man grappling with his own identity in a changing world.

From Barthet to Galea, the self-portrait has evolved with the artist and the world they inhabit. It’s a testament to the fluidity of identity, to the fact that we are not static, but ever-changing, ever-evolving. It’s a reminder that, like art, we too are works in progress.

So, who are we, when we look at ourselves? We are artists, creators, critics. We are the sum of our experiences, our dreams, our fears. We are, in essence, a self-portrait in the making.