The wide corridor that surrounds the Malta Tourism Authority's beautiful courtyard at the Auberge d'Italie in Merchants Street could hardly be a more fitting setting for Madeleine Gera's latest exhibition. Not only does the corridor offer the wide wall space needed to show Ms Gera's large portraits but the atmosphere of the auberge perfectly complements the theme of the exhibition by this artist enamoured of Valletta.
In our society there is a strong desire to have things pigeon-holed; be it a film, painting, or indeed a person, we feel more comfortable once they are organised by subject, allotted a specific class or even a place in society. At a first glance, the wide range of subjects and styles presented at this exhibition leaves some viewers perplexed, it is only when one realises that the theme of the exhibition is Identity that the series of paintings falls into place.
The challenge of capturing identity accounts for the many different subjects on show. Is identity set by people or by place? Does tradition still impart identity in today's world? These are some of the questions posed by Ms Gera's paintings.
From an artist who defies pigeon-holing herself, it is not surprising that Ms Gera's landscapes are unconventional. Corners of Vittoriosa and Valletta are painted with quick, bold strokes; their lack of detail compensated by the energy of the piece. A church in Vittoriosa glows against a deep summer's sky, while St Paul's Anglican Cathedral rises proud, its harsh geometry softened by every shade of mauve on Ms Gera's palette.
In a tribute to the Maltese male's love affair with his car, Ms Gera has produced a series of landscapes where old 1950s and 1960s Ford Anglias and Minis take pride of place, a gloriously quirky combination that works much better than the ubiquitous old bus. Similarly, a series of boat paintings does not tackle the picture-postcard luzzu, but the humble soap-box row-boats that lend themselves so well to a more abstract and contemporary interpretation.
Madeleine Gera is many things to many people; her plant studies and Argotti Gardens fountain view recall the gardens of Florence series that had established her popularity years ago. However, it is her portraits that steal the show this time. Ever since her full-time scholarship to Florence in 2002, Ms Gera has spent three to four months a year studying figure and portrait work at different studios in Florence.
Continuing with the theme of nostalgic portraits from her last exhibition set in the war years, Ms Gera again avoids cloying subjects in favour of character work. Quasi-theatrical male portraits may not be to everybody's taste, but the expression of the Girl with the Maltese Silver Coffee Pot is a worthy successor to last December's much acclaimed Café Cordina Waitress. Colonel David Mifsud and Ballerina are beautiful full-length portraits, while Be my Valentine conveys that hint of transgression that Ms Gera delights in. However, it is the smaller portraits that are really Ms Gera's forte, for they highlight her virtuosity at catching expression and conveying the sitters' character, without the distractions of costumes and occasionally less-than-perfect anatomy.
The Aviator, Michael and Romina only lack speech to come to life, while the Old lady with Shawl possesses not only this vibrancy but also an Old Master quality to its colours and brush-strokes that sets it apart from the rest.
• Identity is open during office hours until Tuesday.
In our society there is a strong desire to have things pigeon-holed; be it a film, painting, or indeed a person, we feel more comfortable once they are organised by subject, allotted a specific class or even a place in society. At a first glance, the wide range of subjects and styles presented at this exhibition leaves some viewers perplexed, it is only when one realises that the theme of the exhibition is Identity that the series of paintings falls into place.
The challenge of capturing identity accounts for the many different subjects on show. Is identity set by people or by place? Does tradition still impart identity in today's world? These are some of the questions posed by Ms Gera's paintings.
From an artist who defies pigeon-holing herself, it is not surprising that Ms Gera's landscapes are unconventional. Corners of Vittoriosa and Valletta are painted with quick, bold strokes; their lack of detail compensated by the energy of the piece. A church in Vittoriosa glows against a deep summer's sky, while St Paul's Anglican Cathedral rises proud, its harsh geometry softened by every shade of mauve on Ms Gera's palette.
In a tribute to the Maltese male's love affair with his car, Ms Gera has produced a series of landscapes where old 1950s and 1960s Ford Anglias and Minis take pride of place, a gloriously quirky combination that works much better than the ubiquitous old bus. Similarly, a series of boat paintings does not tackle the picture-postcard luzzu, but the humble soap-box row-boats that lend themselves so well to a more abstract and contemporary interpretation.
Madeleine Gera is many things to many people; her plant studies and Argotti Gardens fountain view recall the gardens of Florence series that had established her popularity years ago. However, it is her portraits that steal the show this time. Ever since her full-time scholarship to Florence in 2002, Ms Gera has spent three to four months a year studying figure and portrait work at different studios in Florence.
Continuing with the theme of nostalgic portraits from her last exhibition set in the war years, Ms Gera again avoids cloying subjects in favour of character work. Quasi-theatrical male portraits may not be to everybody's taste, but the expression of the Girl with the Maltese Silver Coffee Pot is a worthy successor to last December's much acclaimed Café Cordina Waitress. Colonel David Mifsud and Ballerina are beautiful full-length portraits, while Be my Valentine conveys that hint of transgression that Ms Gera delights in. However, it is the smaller portraits that are really Ms Gera's forte, for they highlight her virtuosity at catching expression and conveying the sitters' character, without the distractions of costumes and occasionally less-than-perfect anatomy.
The Aviator, Michael and Romina only lack speech to come to life, while the Old lady with Shawl possesses not only this vibrancy but also an Old Master quality to its colours and brush-strokes that sets it apart from the rest.
• Identity is open during office hours until Tuesday.