Lena Rivera
The importance of a title for a painting is a highly debated topic. While some artists consider it an afterthought, others believe that a good title can make all the difference in how an audience perceives the artwork. A title can add intrigue, convey the artist's intent, or provide a clue about what they are trying to express. Art buyers tend to gravitate towards titles that spark their interest and make them feel a connection with the painting. While there is no right or wrong way to title a painting, artists should avoid generic or vague names that fail to capture the attention of prospective buyers. In terms of placement, some artists put the title on the back of the painting, while others prefer to place it just below the bottom center edge, with their signature to the far right.
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What You'll Learn
The importance of a title
The title of a painting is very important. While there is no consensus on the right way to title a painting, it is generally agreed that a painting should have a title, as this can help viewers understand the artist's intent, and can add an element of intrigue or mystery. A good title can also help viewers make connections and interpret the artwork, without giving everything away.
Some artists use humour or provocation in their titles, while others use titles to confuse and draw viewers in. For example, American artist Matt Adrian titled one of his paintings "I Will Put You Down As A Soft Maybe", a title that does not conform to a description of the subject matter. Single-word titles can also be powerful, such as Edvard Munch's "Jealousy", which clarifies the relationship between the three figures in the painting.
When it comes to selling artwork, a title is essential. Buyers want to feel a connection with a painting, and a title can help inspire and intrigue them. Untitled paintings can be uninspiring and forgettable. However, some famous artists have successfully sold paintings with titles such as "Untitled" or those containing numbers, such as Jackson Pollock's "No. 5, 1948".
When deciding on a title, it is important to consider the theme, inspiration, or concept of the artwork, and to provide insight for the viewer. Background information and narrative can also imbue the artwork with additional meaning. For example, the backstory of Lucian Freud's "Interior at Paddington" adds a humorous layer to the sitter's sulky expression.
There are various conventions for where to put the title of a painting. Some artists put the title on the back of the painting, along with their signature and the date, while others put the title just below the bottom centre edge of the painting, with the signature to the far right. For prints, it is common to title, number, and sign in pencil, with a second signature to show that the artist approved or handled the print.
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Where to place the title
There are differing opinions on where to place the title of a painting. Some artists choose to place the title of their painting just below the bottom centre edge of the painting, with their signature to the far right. This can be done in graphite pencil or with a pen, such as a pigma pen.
Other artists prefer to place the title on the back of the painting, along with their signature and the date. This approach ensures that the title does not distract from the artwork itself and allows viewers to form their own interpretations without being influenced by the title.
When it comes to prints, it is common for artists to sign, title, and number them in pencil. This signature serves as a second authentication, indicating that the artist approved or handled the print.
Additionally, some artists choose to include the location of the depicted scene on their paintings, usually on the opposite side of their signature. This practice is especially common in landscape paintings, where the location can provide important context for the artwork.
Ultimately, the placement of the title is a personal choice for the artist, and there is no single correct answer. Artists should consider their own preferences and the impact they wish to create when deciding where to place the title of their painting.
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Using numbers in titles
The use of numbers in titles for paintings is a somewhat contentious issue. While some artists use numbers in their titles, it is generally advised against as it may fail to intrigue potential buyers. Art buyers want to feel a connection with a painting, and a title with a number may not inspire them. For instance, they may not feel inspired by the title "Beach Scene No. 23". Additionally, numbered titles may not make buyers feel special, as they indicate that multiple paintings in the same style exist, reducing the uniqueness of the piece.
However, there are exceptions to this rule, as some famous artists have successfully included numbers in their titles. For example, Jackson Pollock's "No. 5, 1948" sold for $140 million in 2006.
It is essential to note that the title of a painting is often debated, with some artists considering it an afterthought or a chore. Nonetheless, a good title can showcase the artist's intent, provide a clue about their message, or add an element of mystery. It can also be a valuable part of an artist's voice, contributing to the overall tone and consistency of their body of work.
When creating a title, it is crucial to avoid being overly descriptive or explanatory, as this can kill the mystery and limit the interpretation of the artwork. Instead of spelling out what is happening in the image, try to evoke emotions or ideas that the viewer can connect with. For example, a landscape painting with a central figure could have suggestive titles like "Before the Next Light" or "They Said He Walked Into the Horizon" rather than a literal description.
In conclusion, while using numbers in titles for paintings may not be the best approach in most cases, there are no hard and fast rules. Artists should feel free to experiment and find what works best for their artwork and their artistic voice.
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Titles that conform or deviate from subject matter
The practice of naming paintings has evolved over the centuries. Historically, until the late 19th century, painting titles were typically descriptive of the subject matter, objects, or events depicted. In modern times, artists have adopted diverse approaches to titling their work, with some using humorous, provocative, or confusing titles to intrigue viewers and draw them into the artwork.
Conforming titles:
Some artists prefer to use titles that directly conform to the subject matter of the painting. This approach provides viewers with a clear indication of the content or theme of the artwork. For example, a painting of a beach scene might be titled "Calm Along the Canal," conveying both the setting and the atmosphere of the piece. Such descriptive titles can help viewers understand the artist's intent and create a deeper connection with the artwork.
Deviating titles:
On the other hand, many artists choose titles that deviate from the literal subject matter of their paintings. These titles might be whimsical, thought-provoking, or even confusing. For instance, a painting by American artist Matt Adrian is titled "I Will Put You Down As A Soft Maybe," which does not directly describe the visual elements of the artwork. Such titles can add an element of mystery, encouraging viewers to interpret the painting's meaning and creating a sense of engagement and curiosity.
There is no definitive rule for titling paintings, and artists have the freedom to choose titles that reflect their creative vision. While some buyers may be intrigued by clever or unique titles, others may find them off-putting if they are too long or explanatory. Ultimately, the title of a painting can impact how viewers perceive and relate to the artwork, enhancing their experience and understanding of the artist's intent.
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Long vs. short titles
The title of a painting is important, as it can help viewers connect with the artwork and feel intrigued. While there is no right or wrong way to title a painting, and artists have different approaches, there are some considerations to keep in mind when choosing between a long and short title.
Long titles can provide additional context and information about the painting, offering a deeper understanding of the artist's intent or the inspiration behind the work. They can include historical anecdotes, personal experiences, or artistic techniques used, which can be intriguing for viewers. For example, a long title like "8,000 Cubic Feet per Minute" provides a specific detail about the subject of the painting, a close-up of Niagara Falls, and gives the viewer insight into the artist's thought process.
However, long titles may also run the risk of being too explanatory or descriptive, leaving little room for interpretation or mystery. Some viewers may prefer titles that are concise and leave some elements open to interpretation, allowing them to form their own connections and relate to the artwork on a personal level.
Short titles can be powerful and memorable, providing just enough information to spark curiosity without overwhelming the viewer. They can also be more versatile, especially when used in conjunction with a series of artworks, allowing for consistency and a cohesive presentation. For instance, a short title like "Surprise on the Path" hints at a narrative without giving away all the details, inviting viewers to engage with the artwork and form their own interpretations.
Additionally, short titles can be more practical, especially when considering the presentation and display of the artwork. They are easier to include in captions, exhibition catalogues, and references, ensuring that the focus remains on the artwork itself rather than a lengthy title.
Ultimately, the decision between a long and short title depends on the artist's intention and the desired impact on the viewer. Both long and short titles can be effective, and it is essential to consider the specific artwork, the context, and the intended audience when making this choice.
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Frequently asked questions
Yes, especially if you are trying to sell it. Art buyers find untitled paintings uninspiring and harder to recall. However, there are rare instances where paintings called 'Untitled' have sold for large sums of money.
A good title should push the themes, story, or inspiration behind the artwork without giving it all away. It should be concise, intriguing, and give the viewer room for their own interpretation.
You can put the title on the back of the painting, along with your signature and the date. If you want to put it on the front, a good place is just below the bottom centre edge of the painting, with your signature to the far right.
'I Will Put You Down As A Soft Maybe' by Matt Adrian, 'Surprise on the Path' by Kath, and 'Jealousy' by Edvard Munch are some examples of good titles.
It depends on whether you're following British or American tendencies and for which publication or system. Generally, it is either-or between using italics or quotation marks, but not both.
