But the piece that best represents the man is ‘Pieta’ – Sunset’ (no.17), a glowing sunset, a sun that perhaps has lost some of its power at the end of a dying day but has gained in intensity and maturity in resplendent glory and a romantic, nostalgic passion and sentiment. Paul in his artistic maturity is set to surprise, bewilder and overwhelm with set or choice pieces that fill the viewer with a sense of ‘benessere’, hedonism, satisfaction and pleasure.

A series of land and seascapes that deceive with their simplicity and economy are popular versions of chunks of our environment, enclaves of beauty turned into poetry with universal implications. ‘Pieta’ – Sunset’ could be referred to as ‘infuocata’ an exact analogy to Paul’s contagious passion and enthusiasm for life, nature and woman,. 

‘Wied il-Għajn’ (no.12) and ‘Veċċa, St. Paul’s Bay’ (no.8) are nostalgic haunts that kindle in the artist recollections and memories from his youth, of wonderful summer days near the beach struck by reflections of our boats in placid water broken by ripples that distort colour and form.

 ‘Marsaxlokk’ (no.7) with ‘dgħajjes tal-latini’ and ‘Grand Harbour’ (13) with a sleek sailing boat hark back to traditional romantic works by Gianni Vella (1885-1977), Paul’s mentor and grandfather that fuse the artist’s Maltese background with his Italian studies in Faenza and Ravenna. ‘Valletta Fish Market’ (no.1), ‘Birkirkara Farmhouse’ (no.2) and ‘Country Chapel’ (no.3) are more pedestrian but suggest serenity, tranquility and peace in solititude and rest.