Take a tour through The Courtauld Gallery from the Renaissance to the 19th century and find out more about how artists have signed their paintings.
The act of signing a painting can be very meaningful: by applying words onto an image, the artist reminds the viewer that they are looking at a flat surface purposefully created by a real person.
What do artists’ signatures reveal about their status in society and their ambitions?
Room 1: 13th-15th Century, Medieval and Renaissance
Artists’ practice of signing their work is often said to have originated in the Renaissance as a manifestation of the steady rise of the status of the artist, from anonymous craftsman to celebrated creative genius.
However, it is not quite as clear cut as this; in the Middle Ages and early Renaissance a number of artists were already claiming authorship of their work.
Two examples of early Renaissance signatures, both in Latin, can be found in Room 1.
Daddi’s The Crucifixion and Saints has a long inscription running along the bottom of its central panel, which translates as “In the year of our Lord 1348, Bernardus, whom Florence made, painted me”.
The Virgin and Child by Barnaba da Modena has a signature painted at the bottom which reads “Barnaba da Modena painted [this]”.
Particularly intriguing is the large size of the inscription, out of proportion with the small religious representation. Both Daddi and Barnaba were serials signers and many of their works bear their names. Theirs however are not signatures in the modern sense of the word: they don’t provide a unique proof of identity.
Rather, they are inscriptions proclaiming their authorship of the work. These could even have been painted by someone from their workshop. Their primary value lies in its assertion of origin.
Room 2: 15th-16th Century, Renaissance Europe
The Trinity with Saints by Alessandro Filipepi (nicknamed Botticelli) has two faded initials ‘AB’ painted at the bottom of the cross.
Meant as the artist’s monogram (a motif created by combining two or more initials), they were probably added at a later date and reveal the importance of signatures for art dealers and collectors.
It is highly unlikely that Botticelli would ever have signed with these initials, which correspond to a form of his name that he never used.
Room 3: 17th Century, Rubens and the Baroque
A signature however can take many forms, encompassing secret codes, hidden signs and bizarre imagery. Lucas Cranach the Elder’s signature in Adam and Eve conforms to this theory.
His signature is painted on the Tree of Life and takes the form of a winged snake-like creature wearing a crown and carrying a ring in its mouth.
This version of Cranach’s signature started to appear in his paintings from 1508. Before that date, his paintings are usually marked with his initials.
We are still unsure about the meaning of this winged serpent, which may relate to a noble title or an order of merit given to Cranach. Cranach had a large studio with many assistants and this use of signature – or ‘branding’ – could have been a way of authenticating and controlling the overall production.
The Allegorical Portrait of Sir John Luttrell by Hans Eworth includes an inscription on the rock in the left foreground alluding to the courage and steadfastness of its sitter, along with the date of the painting and the initials of the painter.
Although this reference to the subject overshadows the artist’s own mark, it is also a rare example of an artist’s signature in 16th-century England.
Room 6: 19th Century, Impressionism and Post-impressionism
In the 19th century, the Impressionists adopted a different approach to signatures.
They generally signed their works with their surname, a date and sometimes the location where the painting was made.
Claude Monet, for example, liked to sign his work with his full name and the date, most often in a colour contrasting with the background.
In addition, Impressionists sometimes included the location where the work was made, emphasizing their practice of painting out of doors and leaving the confines of the studio.
In order to reinforce the myth surrounding his exotic works in the minds of Parisian audiences, Gauguin added to his signature his location, Tahiti, a practice encouraged by his dealer.
In Woman Powdering Herself, Seurat’s signature is more discrete. In this painting, the signature is embedded in the fictive frame that Seurat painted around the edge of the canvas.
What artists’ signatures have you spotted? Leave a comment below or Tweet us @CourtauldGallCategories: Collection | Tags: Adam and Eve, Botticelli, Cranach, Gauguin, George Seurat, Monet, Renaissance, rubens, seurat, Signature | Leave a comment
It’s been an amazing first week for our latest exhibition Jasper Johns: Regrets – we’ve loved reading the reactions and comments from everyone who has come along to see the work. Here are a few of our highlights – keep them coming!
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Meghan Goodeve, Oak Foundation Young People’s Programme Coordinator.
This September we are launching a competition for students aged 16 to 19 years to click, connect, and construct a Pinterest board!
Pinterest is a great way to collect images digitally and to shift through the multitude of artworks that are available online.
By participating in this competition students will explore how critical and contextual study can be based in the visual, and how to translate this to a digital landscape.
It will also help students to differentiate between researching from books and sourcing information online: what websites can be trusted? What image is the truest reproduction of the original? How can you make sure texts from online sources are properly referenced? How do you use the internet to research successfully?
How to enter?
Applications open 29th September 2014
Download the competition application form and complete. This must include the following:
• Student’s contact details
• The URL to the student’s Pinterest board
• A short descriptive text about their chosen artwork from The Courtauld Gallery and theme/argument for the board (100 words max).
• A short bibliography of the books, websites, and any other materials the student has used to research your exhibition. 3-5 sources.
Please email the completed form to firstname.lastname@example.org. The deadline for entries is 12th December 2014 at midnight. A celebration event will be held for those shortlisted at The Courtauld Gallery in February 2015.
How can we support teachers?
We are offering the following opportunities for teachers and schools but please note these are not obligatory to enter the competition.
• Teachers CPD Twilight, Tuesday 30th September 2014, 5.00-7.00pm
• School Workshops at The Courtauld Gallery, 2 hours long, Slots available Tuesday- Fridays
• Outreach Workshops at your School, 2 hours long, Slots available Mondays- Fridays
Schools and Outreach Workshops are reserved to non-selective state schools with a high proportion of pupils on FSM and the Further Education colleges which serve them. To book please email email@example.com or call +44 (0)207 848 1058
For further information see our schools page.
Please don’t hesitate to get in touch if you have any questions and good luck!
Categories: Public Programmes | Tags: "Schools and Outreach Workshops", and construct, Click, connect, Pinterest, Pinterest Competition, Public Programmes, Schools, The Courtauld Education | Leave a comment
Tempe Nell, Public Programmes at The Courtauld Gallery
The period between 1870 and 1914 has been called by some La Belle Époque – or the Beautiful Era – a time when Paris grew as a hive of musical, literary and artistic activity.
French and international composers, artists and writers congregated in the bohemian cafes and dance halls of Montmatre, where they shared creative and political ideas.
I have put together a Belle Époque themed playlist ahead of this week’s Bohemian Paris Late
In this post I am going to look in detail at how composers, artists and performers came into contact with each others’ work through the café culture of Paris in the late 19th century.
I am also going to focus on how the sexuality of women became a major theme across the arts during this time.
Cross-fertilisation in the arts
Collaboration and cross-fertilisation between the arts was rich in Paris in the late 19th and early 20th century.
The poet Charles Baudelaire, who provided inspiration and friendship to many fellow creative professionals, called for the arts to portray modern life honestly in his influential essay ‘The Painter of Modern Life’ (1863).
Modern Life is a theme synonymous with the French Realist and Impressionist painters, particularly for the work of Édouard Manet (Bar at the Folies Bergere), but modern life also characterises the lyrics of popular songs of the Café Concerts.
Baudelaire explored the interlinking of the sensory worlds of the arts in his poem ‘Correspondances’ (1857), writing:
“Vast as the dark of night and as the light of day,
Perfumes, sounds, and colours correspond.”
(translation William Aggeler, 1954)
Composers including Erik Satie and Claude Debussy immersed themselves in café life, enjoying their bohemian freedom and eclectic company. Satie wrote for and performed in the nightclub Le Chat Noir, although this was partly out of necessity to make a living (Satie – Gymnopedie (1888) and Gnossienes No. 1 (1890)).
Satie also drew, playing with caricature designs for his own bust, which was never realised (see above). Debussy explored sound worlds that adopted the ephemerality and atmospheric qualities we associate with Impressionist art, although he was himself critical of such associations (Debussy – Prélude à l’après-midi d’un faune (1894) and Nuages [Clouds] (1899)).
The composer Saints-Saëns painted exquisitely rich imagery through his music ‘The Carnival of the Animals’ (including The Swan, The Fossils and The Aquarium).
Women and objectification in Belle Époque Music and Art
The role of women at the beginning of this period was still very much determined by their relationship to men.
Artists such as Degas, Renoir and Manet repeatedly portray women in various different guises, often betraying their own anxieties about the sexuality of women in the modern world. Female performers, prostitutes and courtesans in particular presented a challenge to men as they crossed the boundaries between private and public life.
The Moulin Rouge, Chat Noir and Folies-Bergère played host to performances ranging from cabaret to acrobatics and versatile star performers, such as the dancer Jane Avril painted by Toulouse Lautrec (Room 7) enjoyed great celebrity.
Two other performers portrayed by Toulouse-Lautrec were Yvette Guilbert (see below) and Polaire who performed comic and sometimes lewd songs often about the lives of performers, prostitutes and courtesans during Café Concerts.
Madame Arthur and Le Fiacre were written and performed by Guilbert, the first describing a courtesan with a trail of suitors and the second, a woman’s bumpy ride with a gentleman in a horse-drawn carriage.
Tha-ma-ra-boum-di-e (1891), an American song became a major hit for Polaire at the Folies-Bergère music hall, recounting the story of a young woman’s awakening sexuality. For a little light contrast, the song Frou Frou humorously explores the dangers of women cycling in trousers (!).
Performers themselves often involved in prostitution, even the young ballet dancers from the Opera as painted famously by Edgar Degas would be preyed on by gentlemen audience members who could pay their way backstage.
Emile Zola’s novel Nana (1880) follows the story of a courtesan and theater performer, whose sexuality and powerful stage performances attract and repulse her audiences and destroy her pursuers. Manet used the title ‘Nana’ for his portrait of the theater performer and courtesan Henriette Hauser in 1877.
This painting was rejected by the Paris Salon, which remained a formal environment where such themes were unacceptable. Ballets and operas also addressed the sexualisation of women in a public arena, for example in the ballet Coppélia by Léo Delibes (1870) where the fantasy of an automated dancing doll threatens the relationship of a young couple, and in Bizet’s opera Carmen (1874) where the seductive title-figure expresses her sexuality openly.
It was not uncommon for female employees cabaret venues to sell their bodies to supplement their wages. In Manet’s painting Bar at the Folies-Bergère (1882) he leaves open the possible interpretation that a negotiation of such a transaction is being made between the barmaid and a customer in the mirror reflection on the right.
Themes of prostitution and crime are dealt with more explicitly in the café song A Saint-Lazare by Artistide Bruant in the voice of a prostitute writing to her pimp from prison where she is being treated for a venereal disease. Even female audience members couldn’t escape objectification, for example in Renoir’s La Loge (1874) a gentleman audience-member ignores his companion, possibly his mistress judging by her make-up and bright clothing, and leans back with his binoculars to ogle another attractive woman in the audience who is out of view.
Categories: Collection, Lates, Public Programmes | Tags: Belle Époque, Cabaret, Courtauld playlist, Degas, Erik Satie, Folies-Bergeres, Jane Avril, Le Chat Noir, Manet, Montmartre, Music and Art, Nana, Renoir, Yvette Guilbert | Leave a comment
This summer, you might have spotted our First for Impressionists campaign if you’ve been travelling by tube..
Or maybe you’ve spotted our beautiful new banner and shop windows outside Somerset House…
We also now also have a lovely new video featuring our Curator of Paintings Dr Karen Serres as she discusses our world famous collection of Impressionist paintings – starring Monet, Degas, Gauguin and Van Gogh amongst many others.
Categories: Collection | Tags: Curator, Degas, Gauguin, impressionism, Impressionists, Manet, Van Gogh, video | Leave a comment