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In the 19th article in a series on 20th-century artists who shaped Maltese modernism,
Joseph Agius delves into the life and times of
Frans Galea
Sculptor Frans Galea (1945-1994) belongs to an elite group of Maltese sculptors that Malta lost at a relatively young age.
Banda (1977)
Edward Pirotta (1939-1968), Joseph M. Genuis (1934-1970) and Toni Pace (1930-1989) and Galea have all contributed considerably to the modernist development of Maltese 20th-century sculpture. Yet, their untimely demise has deprived Maltese art history of oeuvres that would have much further enhanced the country’s 20th-century sculptural legacy.
From the days of his childhood, Galea demonstrated a dexterity in sculpting figurines for nativity cribs. This was nurtured by attending the catechism lessons at the Rabat centre of the society for the Christian doctrine, otherwise known as MUSEUM. The society was renowned for propagating a love for the traditional Christmas crib and the folklore relevant to
Ezra Pound by Wyndham Lewis
“My goal is to save the public soul by first punching it in the face.” Ezra Pound
The main failure of the rise of the conservative right in America has been its fear of producing its own brand of cultural elitist in the style and substance of the well-bred Reactionary. Its cultural contribution has produced no aesthetic vision, no artistic sophistication only the cult of commentary, endless commentary. There we stand after all this time: no film studios, no high-end
literary publishing houses, no museum board of directors of consequence, not a single Ivy university under our influence, no “great editors” of the Buckley–Hilton Kramer or even Lewis Lapham–George Plimpton variety; no Condé Nast, no sitcom/dramas of interest save so many rather twee “aristocratic” nostalgia series lavish with bygone-era minutiae.