When researching the work of artists it is essential that one considers their thoughts on their own work and that of others. Written sources, be they letters, essays, interviews, are indispensable to the analysis of any artist. Van Gogh's letters, so numerous that they are published as a six-volume edition, permit us to understand the intimate thoughts of such an innovative artist. Guillaume Apollinaire and D.H. Kahnweiler's critical explanations of Cubism made legible the radically new language developed by Pablo Picasso and Georges Braque. In the 1960s, artists who pioneered new movements such as Conceptual Art and Minimal Art documented their theories on the nature of art in the post-war period.

Several textual sources exist on international modern and contemporary art. However, it is always difficult to find writings by Maltese modern artists which discuss the aesthetic principles of their work. Biographical information and personal anecdotes are readily available. Certain stories and information are often time repeated. This creates a significant problem for those who are attempting to study the art and ideas of Malta's 20^th century artists. In many interviews are found the same questions, questions which maintain a rather superficial approach to the discussion of Maltese modern art.

The essays and publications by Dr. Giuseppe Schembri Bonaci, Prof. Peter Serracino Inglott, Prof. Richard England, Prof. Kenneth Wain, Dominic Cutajar, Dennis Vella and others provide us with penetrating writings on the more significant 20^th century artists. These scholars and researchers focus their analyses on the inherent concepts portrayed by these artists and the socio-political context of modern Malta.

Biographical stories are often used to incite intrigue on the life of artists, imbuing them with celebrity status and consequently distracting the viewer from the works of art which ultimately define the historical importance of these figures. One ubiquitous example is the story of Van Gogh, whose romanticised legacy is that of a tortured introvert who took his own life and whose art was appreciated posthumously.

I wholeheartedly agree with British author Julian Barnes that "these moanings and rantings and madcap schemes are background noises to a process of artistic heroism, of determination in the face of discouragement" (London Review of Books, 30 July 2015). The captivating tales which surround the life of Van Gogh are actually less interesting than his art. Unfortunately, the clamour they create is sometimes deafening.

A researcher bears the considerable responsibility of developing critical focus on the works of artists in order for the cognisance of art to mature intelligently. Within the field of study on Maltese 20^th century art there is still much left to be done. The quantity and quality of research is increasing, especially due to the academic programme of the Department of History of Art at the University of Malta.

Just recently I read the collection of interviews with artists conducted by Laurence Mizzi and published by Horizons last year. The book, called 'Artisti mill-Qrib', featured interviews with the pioneering artists of the 20^th century; Josef Kalleya, Carmelo Mangion, Gabriel Caruana, Frank Portelli, Antoine Camilleri, and others. Two of the chapters, those on Willie Apap and Anton Inglott, were actually reflections on the artists provided by those close to them. These interviews conveyed personal and artistic insights on the named artists and their art, some of which were previously unknown and important statements.

Although in many instances the author entered into the biographical, I very much consider this book to be an important one, especially since, as pointed out earlier on, it is sometimes a struggle to find sources where Maltese artists divulge their thoughts and opinions on art.

One point of criticism is that Mizzi should have been more careful with regards to the selection of artists. Artists like Kalleya, Mangion, and Caruana changed Maltese art and challenged its very foundations, likewise those of society. Thus, it is a disservice to place them on an equal footing as Alfred Camilleri Cauchi and Ganni Pace, artists whose works do not push any artistic boundaries, quite the contrary. I do not mean to undermine their technical capabilities, but it is extremely vital that one develops the ability to distinguish between artists and recognise the level of their historical significance.

This is a general problem in Malta. Several collective exhibitions have been and are held which aim to include and please all without determining any selection criteria or parameters which delineate the objectives of the curator or organiser. I have looked into many exhibition catalogues from recent years, only to find that very few had a specific theme, and even less portrayed a clear idea of why certain artists were chosen. There are catalogues of exhibitions which evidently worked to improve the local situation, such as those organised by Start and the exemplary 'Caravaggio - quote...unquote' curated by Prof. Keith Sciberras.

It is only by striving to fine-tune the methods for classifying art and artists that the writing and presentation of art in Malta may break away from its insular, parochial confines. Only very few artists possess the imagination and stamina to create something new and to challenge predominant ways of thinking. The 19^th and 20^th centuries gave birth to a good number of these resolute individuals, and they must be remembered as such for posterity.