Richmond University (Florence)

Spring 2011

High and Late Renaissance Art

Prof. Peter Porcal

Natalie Acone
s

Renassiance Artists Signatures: More than Just a Name

Acone 2 Renaissance Artists Signatures: More than Just a Name

Art can tell a viewer so many different things. It is complex, and multifaceted. From creation to the final work, the process of understanding one single artwork is long and often difficult because of all the intricacies. An element of art that may go overlooked is the signature of the artist. Before the Renaissance, many artistic works were left unsigned. But, with the rebirth that the Renaissance brought, came a new claim on authorship by artists. The signatures of the artists reveal much more than who completed the work. Standardized signatures may reveal who the artist is, where he or she came from, where and when the work was created, and for whom the work was created. The signature of an artist is the artist establishing his own presence in the work, and giving himself up to scrutiny or praise. A signature of a Renaissance artist is unique because it has the power to reveal further information about how the artist views and feels about his work. Renaissance artists claimed authorship of their works in a variety of ways. Renaissance artists created signatures through words, self portraits, and hidden images. In order to understand why the signatures of Renaissance artists are so unique it is important to understand what elements of the signatures make them different. The words, fonts, and numbers used to express a signature are as equally complex as the artwork itself. The Renaissance brought great changes to art, including how a work was signed. For example, between the fourteenth and early fifteenth centuries, before the Renaissance arrived in Venice, the signature of an artist was very conventional and straight forward. Most often, the signature included the artists name, a date, which is assumed to be the date of completion, and occasionally information about the person who commissioned the work and the site where the work was completed. The placement of the signature was either on a frame, along the bottom edge, or on the lowest area of the central panel. The language used was Latin, numbers were Roman Numerals, and the style of writing was Gothic (Matthew). This conventional signature

Acone 3 Renaissance Artists Signatures: More than Just a Name

began to change during the 1440s with the arrival of Renaissance Florentines in Venice (Matthew). The first change can be seen the form the signature is written in. The Gothic style was replaced with Roman lettering. In addition, the signature was no longer an added piece of the work. It became a part of the work, meaning, the signature becomes more consistently part of the painted illusion (Matthew). The placement was no longer along the bottom or out of the way. The signature was more a part of the work, and often contributed to the overall meaning of the work. For previous generations the signature was simply a declaration of authorship. But, beginning in the fourteenth century an increasing amount of artists became more loquacious with their signatures. It was no longer the standardized name, date, patron, and site. Additional phrases were attached to the signature that had some meaning to the artist, or gave some meaning to the work. The phrase attached to the signature can tell us how the artist felt about his work, and how the artist wanted viewers to feel about his work. For example, Duccio di Buoninsegna of Siena completed a sculpture of Mary called Maest that was installed on the high alter of Siena Cathedral in 1312 (Goffen 113). The signature inscribed on the base of Marys throne reads, MATER SANCTA DEI SIS CAUSA SENIS REQIEI SIS DUCIO BITA TE QUIA PINXIT ITA, which translates to, Holy Mother of God, be peace for Sienas sake, be life for Duccio who has painted you thus, (Goffen 113). This signature was not solely created to express authorship. The prayer attached to it expresses pride in the creation of the work. The creator implores Mary to grant peace to Siena, and life to Duccio. Although the words attached to Duccios signature are directly personal, not all Renaissance artists signatures were equally as personal, but did reveal additional information about the creator. For example, the signature on south doors of the Florence Baptistery reads, ANDREAS:UGOLINI:NINI:DI

Acone 4 Renaissance Artists Signatures: More than Just a Name

:PISIS:ME:FEDCIT:A D:M:CCC:XXX (Goffen 113). This signature identifies the artist, Andrea Pisano, where he was from, and the date of the work. Furthermore, the signature reveals a certain amount of pride in the work by saying me fecit. This phrase allows the signature to take on the persona of the work because this translates to made me (Goffen 113). This style of signature relates to the only signature ever left by Michelangelo. The Florentine artist notoriously left works unsigned. But, the one signature that he did leave, on his sculpture of the Pieta, reveals one of the most significant changes that occurred in Renaissance artists signatures. It involved the tense the signature was written in. In order to fully understand the impact of this signature by Michelangelo it is first important to understand how this one signature came to exist. The story of how the signature came to be begins after the Pieta was installed. In 1564, a month after Michelangelos death, Vasari published the anecdote of the signatures existence. Varsari wrote the signature came: Into being because one day Michelangelo entering the place where it [the Pit ] was installed, found a great number of Lombard strangers who were praising it highly, one of whom asked another who had done it; he answered; Our Gobbo from Milan, (referring to Cristiforo Solari). Michelangelo stood silent, but it seemed somewhat strange to him that his efforts should be attributed to someone else. One night he shut himself in there and, with a little light, having brought his chisels, he carved his name there (Goffen 117-118). There have been many speculations among artists, and art historians about why Michelangelo decided to sign this particular sculpture. Vasari speculated that it was pride in the work that caused Michelangelo to sign it. Vasari concluded that Michelangelo signed the work because he was satisfied and pleased with himself (Goffen 117). The anecdote was told to by an unknown correspondent, but is able to support Vasaris theory. It gives evidence to the fact that Michelangelo wanted viewers to know that it was him that created the beautiful work.

Acone 5 Renaissance Artists Signatures: More than Just a Name

Another theory of why the signature exists takes an opposite approach, and relates to the words outside of the name. The signature is placed across Marys breast, and reads, MICHEL.ANGELVS BVONAROTVS FLORENTINVS FACIEBA. This literally translates to Michelangelo Buonarroti the Florentine was making. The additional theory of why Michelangelo signed the Pieta relates to the concept of false modesty. In class we discussed how in his signature Michelangelo writes FACIEBA [T]. This is the imperfect tense of the verb FEDCIT, to make, which is seen in the signature of Andrea Pisano. This tense gives the word the literal translation of was making. The use of FACIEBA conveys the message that the work was not yet finished. It is interesting that Michelangelo stated the work was not yet finished because it is one of his most well done sculptures. Rona Goffen states: Given the high finish of the Pieta, the signatures assertion of incompleteness seems immodest, a self conscious and perhaps i nsecure disavowal of pride in the achievement (Goffen 116). Goffen is stating that the imperfect tense signature does not convey a sense of pride in the work. Instead it creates a sense of reserve and insecurity in the painter. The use of FACIEBAT is a play on false modesty which stems from the work of Greek antiquity painter Apelles. When Apelles created a painting of a basket of cherries that looked so realistic that it even fooled birds who went to steal the cherries from it, he signed the painting with FACIEBAT. By using the imperfect tense of this verb Apelles created a false sense of modesty. This signature conveyed the message that even though the painting looked perfect, and could fool anybody into thinking it was real, it was not completed, and could be made even better. Well aware of Apelless false modesty, Michelangelo used it for his own seemingly perfect sculpture. He added to the aspect of being unfinished by even leaving the word FACIEBAT unfinished. He left out the final T. The question that the use of FACIEBAT left people with was why Michelangelo felt he needed to use

Acone 6 Renaissance Artists Signatures: More than Just a Name

false modesty on the Pieta. As previously stated, when an artist leaves a signature he is placing his presence in the work, leaving himself open for praise and criticism. By using false modesty an artist is able to protect himself from the criticism because he has the defense that is not yet finished. Pliny brought up Apelles use of FACIEBAT in the Preface to his National History. Pliny wrote: even the masterpieces [], with a provisional title such as Faciebat Apelles or Polyclitus, as though art was always a thing i n process and not completed, so that when face by the vagaries of criticism the artist might have left himself a line of retreat to indulgence, by implying that he intended, if not interrupted, to correct any defect if noted (Goffen 114). What Pliny suspected, as do many other art historians, was that the artists that signed their works in this manner they wanted the work to never been seen as completely finished. If a work is never finished, it can constantly be corrected if the artist has the moment and desire to do so. This type of signature acted as a defense against criticism for the artist. It has been speculated that this was the intention of Michelangelo when he used it to sign the Pit. Michelangelos use of FACIEBAT was the first Renaissance use of the text, and ushered in a movement of artists who used it. After Michelangelo, 90% of Renaissance artists would use FACIEBAT in their signatures (Porcal). The signature no longer was just a name. By signing a work in the imperfect tense, the signature revealed that the creator wanted to protect both his work and his reputation from criticism. For Renaissance artists a signature may not be found in words, but in the artwork itself. Often, in the paintings of Renaissance artists, the creator will construct a self portrait within the work that will be the artists claim to authorship, and therefore the artists signature. The manner in which the self portrait is created can reveal what the artist wants the viewer to see, how the artist wants the viewer to perceive the work. Many times the self portrait is different from the

Acone 7 Renaissance Artists Signatures: More than Just a Name

rest of the painting, and draws the attention of the viewer. An example of this can be seen in Botticellis Adoration of the Magi. In this painting Botticelli literally paints himself as in the painting. He is represented as one of the men assisting in the central event. Botticelli is seen on the right side of the painting, as a robust figure, adorned in gold. What makes this figure different from the rest is his placement, and the direction of his gaze. The self portrait seems out of place when comparing it to the placement of the other figures. He is in the front, and moved slightly away from the rest of the figures. The direction of Botticellis self portrait is what really sets it apart from the rest of the figures. The man is not gazing at Mary and baby Jesus, but outward, towards the viewer. Botticelli wanted his self portrait, his signature, to catch the eye of the viewer, and introduce the event of the painting to the viewer (Gale). When an artist included a self portrait as the signature of his work he physically placed his presence in the work, and was able to show the viewers what he wanted them to see. Recent research has shown an additional way Renaissance artists applied a signature to their work. In 2004, The Greenland Art Research began conducting a study on hidden images in paintings. In particular they looked at various works of the Renaissance artist Titian. Examples included in Titians Sacrifice of Isaac where there is a blurred self portrait of Titian in Abrahams red dress, and Titians painting Joseph and the wife of Potiphar where there is a hidden signature. No evidence exists for why Titian included these hidden images in his works. They hypothesis that the Greenland Art Research has developed reasons that Titian wanted to make his work copy proof. Because the images were so well hidden, it would be nearly impossible for a completely accurate copy to be made. The hidden images, whether they are an actual signature or not, can act as a signature of authenticity of the work.

Acone 8 Renaissance Artists Signatures: More than Just a Name

Because of the variety of forms that a signature can come in, a signature on a work of art can reveal a great deal of information beyond the name of its creator. Standard elements like the date of completion, birthplace of the creator, place of creation, and the name of who commissioned the work can all be revealed through a signature. There is deeper meaning to the signatures as well. If the signature is imperfect tense, and reveals the work to be unfinished this reveals insight into the character of the artist. In the case of imperfect tense, the artist is not boastful or prideful. Instead, he is taking precaution to protect his work and his reputation from criticism. When an artist uses a self portrait as a signature he is inviting the viewer into the image, and introducing the event. If the artist leaves only hidden images as a signature they are smalls claims to authenticity that reveal the creator wanted it to be known the work was his. Even though this information may be revealed through a signature, caution must be taking when examining a signature on an artwork. Signatures could be added a later site, changed, undiscovered, overpainted, or rubbed off (Matthews). This is why it is important to make sure the signature is authentic. A signature creates authenticity only if the signature itself is authentic. When the signature of a Renaissance artist is found, it will reveal more than a name. It can tell a story that is as complex as the work of art itself.

Acone 9 Renaissance Artists Signatures: More than Just a Name

Bibliography Gale, M. "Adoration of the Magi (Attitude towards the Viewer in the Renaissance Paintings) Alternative View on Art, Architecture and Religion." Alternative Information Newsletter Alternative View on sArt, Architecture and Religion. 2008. Web. 01 Apr. 2011. <http://www.aiwaz.net/adoration-of-the-magi-attitude-towards-the-viewer-in-therenaissance-paintings/a109>. Goffen, Rona, and Michelangelo. Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian. New Haven [u.a.: Yale Univ., 2004. Print. Hendriksen, Svend Erik. "Miniatures and Faces in Renaissance and Impressionist Paintings." Artist Perspectives - Interviews with Artists. Greenland Art Research, 2005. Web. 01 Apr. 2011. <http://www.artist-perspectives.com/articles/hendriksen.htm>. Matthew, Louisa C. "The Painter's Presence: Signatures in Venetian Renaissance Pictures." Access My Library. The Art Bulliten, 10 Dec. 1998. Web. 1 Apr. 2011. <http://www.accessmylibrary.com/article-1G1-54073963/painter-presence-signaturesvenetian.html>. Porcal, Peter. "Michelangelo." Class Lecture. Richmond Univeristy, High Late Renassiance Art. 22 Feb. 2011. Lecture.