Marubi National Museum of Photography

by John Watkins

On 13 June, the AAA and the Albanian Embassy hosted an evening devoted to Shkodër and the Marubi National Museum of Photography. After a few introductory words from the Albanian Ambassador, HE Uran Ferizi, and from the AAA’s Chairman, Stephen Nash, Dr Mirela Xhaferraj from University College London spoke about the rich history of literary life in Shkodër.

Over the centuries, Shkodër has been home to a large number of influential scholars and writers who have contributed to the development of Albanian literary culture. One of the first was Marin Barleti, a Catholic priest and historian who wrote in Latin. Barleti’s works include The Siege of Shkodra (1504) and The History of the Life and Deeds of Scanderbeg, the Prince of Epirus (1508).

In the nineteenth century, several Shkodran writers became leaders of Albania’s National Renaissance (Rilindja). Pashko Vasa was born in Shkodër in 1825. He was one of the organisers of the League of Prizren (1878) and a founding member of the Istanbul-based Society for the Publication of Albanian Writings (1879), set up to promote the printing and distribution of Albanian-language books. Vasa also wrote poetry in Gheg. One of his most influential poems, O Moj Shqypni, was published in 1878. Vasa also wrote in French. Dr  Xhaferraj mentioned his novel, Bardha de Témal, scènes de la vie albanaise (Paris, 1890). In 1887, Vasa published his Grammaire Albanaise, an Albanian grammar in French, which was designed to promote a greater awareness and understanding of the Albanian language.

Dr Xhaferraj spoke about other Shkodran writers. These included Filip Shiroka (1859-1935); the Catholic priest and poet Ndre Mjeda (1866-1937); and the poet and dramatist Migjeni (1911-1938) who, despite a short life, laid the groundwork for modern Albanian literature. Dr Xhaferraj also mentioned writer and politician Luigj Gurakuqi (1879-1925); the poet Hil Mosi (1885-1933); and Ernest Koliqi (1903-1975) whose collection of short stories, Tregtar Flamujsh (The Flags’ Merchant) was published in 1935 and drew on the author’s personal experience of living and working in Shkodër. 

Perhaps the most famous Shkodran writer is Gjergj Fishta (1871-1940) whose Lahuta e Malcis (The Highland Lute) remains Albania’s most famous verse epic. Written in Gheg and published in 1937, its fifteen thousand lines describe Albania’s long struggle for autonomy and independence. The poem was banned in 1944 when the communists came to power.  

After a musical interlude, Aida Haziri told us about the Marubi family and their photographic studio. The story began in the mid-nineteenth century when Pietro Marubi left Italy and settled in Shkodër. Pietro was a sculptor and painter as well as a photographer. He opened his studio in 1856 and began producing portraits printed on cardboard which were used as calling cards by the local dignitaries. Pietro then turned to more ambitious portraits of urbanites, freedom fighters and country folk in traditional mountain costume.

One of Pietro Marubi’s first portraits was of Hamza Kazazi, a leader of the Albanian

Uprising in 1835.

Another of Pietro’s early subjects was Gani Toptani, a leading member of the Toptani family who was born around 1859.      

As the business expanded, Pietro took on two Albanian apprentices, Mati Kodheli (1862-1881) and his brother Kel (1870-1940). When Pietro died in 1903, Kel took over the studio and changed his name to Marubi. Under his guidance, the studio became a meeting place for nationalist politicians, artists and intellectuals. Kel’s daughter Bernadina sewed the Albanian flag raised in Shkodër in November 1913 to mark the first anniversary of Albanian independence.

Kel’s son, Gegë, was the third generation of the family to run the studio. Gegë was sent to Trieste and Paris to study photography. When he returned he began creating more glamorous portraits. One of his most famous subjects was the Albanian singer Tefta Tashko-Koço.

  Tefta Tashko-Koço

The studio continued to operate during the early years of the communist regime. As well as traditional portraits, Kel also photographed young partisans, factories and show trials. In 1952, the studio was taken over by the state and placed under the control of the State Artisan Cooperative. Some of its images were altered for propaganda purposes. One of the most famous examples was a photograph taken by Kel Marubi in 1923 showing Luigj Gurakuqi, Ndre Mjeda and Gjergj Fishta. In the revised version of the image, Gjergj Fishta has been erased. 

In 1970, Gegë donated the studio’s entire archive to the state. This included cameras, correspondence and almost 500,000 photographic negatives. After the collapse of the old regime, the collection was administered first by Municipality of Shkodër and then by the Ministry of Culture. The museum moved to its present location in the city centre in 2016. It remains one of Albania’s most unique archives.

The evening concluded with an overview of Shkodran music given by Desantila Qerimaj. Ms Qerimaj quoted Gjergj Fishta’s comment that “in all arts, music in the most divine one, because it is the most unlimited one, freer than most arts”. During the long Ottoman occupation, music developed from single songs (ahenge) and dance-songs (valle e kënduar) into more complex forms. Albania’s first orchestra was formed in Shkodër in 1878 (and photographed by Marubi). Since then, Shkoder has produced many famous musicians including composers Paloke Kurti (1860-1920) and Prenk Jakova (1917-1969) who composed the first Albanian opera, Mrika. The evening concluded with the song Luluborë composed by Shkodran musician Simon Gjoni, which the audience was encouraged to sing along to.

After the presentations, guests were able to see some of the most famous Marubi portraits on display at the Embassy. The AAA and the Albanian Embassy are grateful to Djon Matusha who printed and mounted the photographs. The AAA would also like to thank Aida Hazari for organising such an interesting and informative evening.

all images used with permission