The Role of Olga Galea Naudi in Edward Caruana Dingli’s Art

Abigail has recently successfully defended her MA thesis within the Department of Art and Art History at the University of Malta. Her thesis delved into the role of Olga Galea Naudi in the art and life of local artist Edward Caruana Dingli. Abigail Pace’s interest in the study of women and their role in art began when for her undergraduate thesis, she researched the late British-Maltese artist Isabelle Borg (1959-2010). During her time at the University of Malta, Abigail served as President of the History of Art Student Association (HoASA). Today she works as a museum host at Palazzo Falson Historic House Museum in Mdina and as a guide at Casa Rocca Piccola, Valletta. She is also a graduate researcher and events coordinator at local architectural and urban design office, studjurban

 

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Sponsored by the Alfred Mizzi Foundation. Maltese artist Edward Caruana Dingli left a significant legacy in local portraiture in the nineteenth and early twentieth centuries which was a politically tremulous period with very strong pro-British and pro-Italian sentiments. Edward was conservative in many ways. This was mostly reflected in his art, the style he perpetuated, and his safe choice of subjects. On the other hand, his romance with Olga Galea Naudi was rather controversial. By studying Edward’s artistic oeuvre, Olga emerges as his favourite model. She was also a good companion whose bold character worked to Edward’s advantage. This lecture will highlight the role Olga Galea Naudi played in the art Edward Caruana Dingli, namely as his muse, model and sitter, whilst aiming to highlight the differences and similarities between these three roles.

 

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