Art commissions are a means for patrons to enliven any desired space with works of art that, in some cases, are pregnant with symbolic meaning.

The result of Galea’s interpretation of the theme is a bountiful still life- Charlene Vella

The artist’s challenge is how to meet the wishes of the patron without compromising art and style. The good artist rises above the challenge effortlessly and with credit. History of art is to a large extent the story of how artists triumphed over difficulties that stemmed from restrictions imposed on them by specific commissions and their settings.

Freedom of expression and free spirit have become buzzwords, but it remains a fact that many of the better works are still those produced on commission. This is why I am focusing on one such commissioned work that I find particularly worthy of attention.

I am referring to a commissioned painting that artist Anna Galea did for the refectory of the Archbishop’s Seminary in Rabat a few months back.

Entitled Komunjoni (Communion), the painting takes the form of a triptych. The composition progresses from each of the three individual sections. Of a metre in height, and of a combined width of over two metres, the effect is memorable.

Produced specifically for the seminary’s refectory, the triptych fits in admirably with the setting it was destined for.

The setting called for an ambience of communal living, of sharing, and naturally, of dining together. The commission was, as expected, given religious significance, and the aspect relating to the sacrament of communion is beautifully interpreted.

A loaf of bread and wine feature prominently in the central section, the wine in a modern-day bottled version and wine glass, but these are far from the only symbols included in the painting.

The result of Galea’s interpretation of the theme is a bountiful still life, incorporating also fish, wheat, playful vine leaves, lush tomatoes, onions and a cabbage. They are all very rustically Maltese and feature in the central panel. Some are presented on a round tray, a symbolic reference to the sacramental host.

The subtly disguised symbolism is, in a way, reminiscent of Renaissance art north of the Alps.

The fish is a further reference to the miracle performed by Christ, whereby he fed masses of people with just two fishes.

An important aspect is the presence of the divine through an orb of light that emerges from the depths of the painting. It is towards this light that the composition gravitates. The vine leaves and wheat strands are divinely attracted to it, and defy gravity to swerve towards it.

The composition is very much animated, as is the enlivened, pulsating background composed of several fluid brushstrokes that further imply a divine presence.

In the midst of this agitated background emerges a little vignette showing a landscape in the distance denoting the seminary’s location.

Sensitive to its setting and blending in adequately, the painting cannot but make one be thankful for the food that is to be eaten, but it leaves plenty of room for prayer and meditation.

Executed in watercolour, the triptych is a tribute to Galea’s artistic accomplishment and superb intimacy with the medium.

The intense palette is dense and fluid. Strong highlights further accentuate the realism. This is again heightened by one of the fish, whose tail drops playfully off the table to establish contact with the spectator.

All in all, the painting enhances and gives added meaning to the dining room space it was produced for.