École Superieure des Beaux Arts in Paris. There he came under the influence of his teacher Nicolas Untersteller, a respected artist from Alsace who between 1939 and 1945 was the Director of the École des Beaux Arts. Untersteller was a specialist in stained glass, a medium which Antoine would experiment with in later years. In Paris, Antoine was exposed to modern painting and the work of the Impressionists. The intellectual stimulating atmosphere of the city reinforced his vision, he painted many landscapes en-plein-air, but truly loved drawing and painting from live models. These studies reveal the artist's developing style, characterised by the flow and economy of line as well as a sense of elongation. Self-Portraits With over 80 documented self-portraits produced, during different stages of his artistic career, Camilleri ranks as Malta's most revered self-portraitist who defined himself and his art through the promulgation of his own image. Antoine Camilleri's introspective nature is widely explored in his self-portraits. The artist recorded his physiognomic progression and experiences through the painted self-portraits. As a result, the depicted self-representations mediate the spiritual, intellectual and artistic psyche of the artist. He presented himself to the viewer in a series of moods and intensive looks, sharing joyful and difficult moments from his personal life. Camilleri's self-portraits acted as a therapeutic antidote where he exposes his inner self as if in an act of confession. Camilleri in his self-portraits sheds all religious inhibitions and disregards any conservative criticism by depicting himself in the guise of the resurrected Christ exposing the stigmata. The artist further elaborates on the idea of self-definition by incorporating in his works readymade objects, things that he was acquainted with in his studio or in his house. He petrified these found-objects with resin, and eternalised them to be viewed as natura morta itself, becomes the work of art. Camilleri does not tamper with, interpret or modify his surroundings from their pure state of being; he simply immortalises them and shares them with the viewer as part of his memory, as an extension of the self. New Realism Antoine Camilleri experimented many forms of art, one of his experiments was the introduction of "objet trouve". Real food such as bread, cheese and wine were preserved forerever in his works concealed under a film of resin. Dr Joseph Paul Cassar contends that Camilleri anticipated New Realism artist, Daniel Spoerri’s famous breakthrough, known as his ‘snare