Authenticating Utrillo: Recognizing Original Maurice Utrillo Paintings

French artist Maurice Utrillo (1883-1955) was known for his Post-Impressionist cityscape paintings of the Montmartre neighborhood of Paris, where he was born and raised. Utrillo's paintings are characterized by thickly troweled paint and often depict winding streets and alleyways, and famous landmarks such as Sacré-Coeur Basilica and the Moulin de la Galette restaurant. With no formal training beyond what his mother, artist Suzanne Valadon, taught him, Utrillo's work is considered naïve yet picturesque. Despite struggling with mental illness and alcoholism throughout his life, Utrillo achieved international acclaim for his artwork, and today, his paintings are often reproduced and sold as prints and postcards. To determine whether a Utrillo painting is an original or a reproduction, experts may examine the texture and brush strokes, comparing them to the color delineations in the underlying image.

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Signature: look for a distinctive flowing style and large lettering, usually in pencil in the lower margin

When examining a painting for authenticity, one of the key aspects to look for is the artist's signature. In the case of Maurice Utrillo, his signatures are distinctive and can be authenticated by experts.

Utrillo's signatures often feature a flowing style with large lettering, usually inscribed in pencil in the lower margin of the painting. This is an important characteristic as Utrillo's works are known for their spontaneity and quick production, with simple subject matter and a muted palette, making them vulnerable to forgery.

The analysis of an Utrillo signature requires a careful and methodical approach, as his career evolved significantly in style and technique. The authentication process may involve techniques such as X-ray imaging, pigment analysis, and infrared reflectography to examine the artwork's physical properties and underlying layers. This helps to verify the age and authenticity of the materials used, ensuring they correspond to the period when Utrillo was active.

It is important to note that the presence of a signature alone is not always sufficient to confirm the authenticity of a painting. For example, a painting signed by Utrillo and dated 1938 was identified as a print reproduction due to its uniform surface and the absence of raised areas of paint impasto. Therefore, a comprehensive assessment should be conducted by independent experts or authentication firms to verify the authenticity of a Maurice Utrillo painting.

Brush strokes: check if the brush strokes match the colour delineations in the underlying image

When checking if a painting is an original Maurice Utrillo, it is important to inspect the brush strokes and compare them with the colour delineations in the underlying image. This is because the brush strokes in a genuine Utrillo painting should match the colour delineations. If they do not correspond, this may indicate that the painting is a print with a textured surface designed to mimic brush strokes.

Utrillo's paintings were often created with thickly troweled paint, resulting in a textured surface that reflects his unique style. By examining the brush strokes, you can gain insights into his artistic process and identify any inconsistencies that may suggest a reproduction.

To determine if the brush strokes match the colour delineations, start by carefully observing the painting with the naked eye. Look for any signs of uneven brushwork or areas where the paint appears to have been applied with a palette knife, as Utrillo was known to use this technique. Pay attention to the direction and length of the brush strokes, as well as the thickness and texture of the paint.

In addition to visual inspection, you may consider using tools such as a magnifying glass or a microscope to examine the brush strokes in greater detail. This will allow you to verify the presence of individual brush hairs and other subtle characteristics that can indicate a genuine Utrillo. By comparing these observations with the expected colour delineations, you can make a more informed assessment of the painting's authenticity.

It is also worth noting that Utrillo often signed his paintings, usually in the lower right corner. While the presence of a signature does not guarantee authenticity, its absence may be a cause for further investigation. Additionally, you can research the provenance of the painting, including its ownership history and any available documentation, to gather additional evidence supporting its authenticity.

Texture: Utrillo's paintings have a thick impasto texture, with raised areas of paint

The French artist Maurice Utrillo was known for his distinctive impasto painting style, which can be identified by its thick texture and raised areas of paint. This technique was used to great effect in his cityscape paintings, which often featured winding streets and alleyways in the Montmartre neighbourhood of Paris.

Utrillo's impasto technique involved applying paint thickly with a trowel, creating a textured surface on the canvas. This style of painting was characteristic of Utrillo's work and can be used to help identify an original painting by the artist. The impasto technique results in a thick, three-dimensional surface that can be observed and felt, with visible brushstrokes and raised areas of paint.

One key indicator of an original Utrillo painting is the presence of these raised areas of paint, which create a textured, almost three-dimensional effect on the canvas. This impasto technique is particularly evident in his earlier works, with his "White Period" from 1912 to 1914 known for its heavy use of white impasto, often mixed with plaster. Close inspection of an original Utrillo painting would reveal these thick, raised areas of paint, which are absent in print reproductions, which have a very uniform surface.

To identify an original Utrillo painting, one should look for these distinctive impasto textures, which are a defining characteristic of his work. The thick application of paint, often with a palette knife or trowel, creates a unique surface that is a hallmark of the artist's style. This impasto technique, with its raised areas of paint, is a key element of Utrillo's artistic process and can be used to distinguish his original works from reproductions or forgeries, which often lack this three-dimensional texture.

Subject matter: his work focused on the streets and buildings of Montmartre, Paris

The French painter Maurice Utrillo (born Maurice Valadon) was known for his depictions of the houses, streets, and winding alleyways of the Montmartre district of Paris. Utrillo was born in Montmartre, making him one of the few famous painters of the area who was also a native.

Utrillo's work often portrayed the deteriorating buildings of Montmartre, its old windmills, and its cafés and places of amusement. He is known to have used picture postcards as sources for his paintings. One of Utrillo's most popular paintings is entitled 'Montmartre Street Corner or Lapin Agile', a 1936 work that tourists to the area can often find reproduced on postcards. Another well-known work is 'Le Restaurant de la Tourelle à Montmartre', dated circa 1911.

Utrillo's most highly regarded work is that of his "white period" (c. 1909–1914), so called because of his lavish use of zinc white, which he sometimes mixed with plaster. These works, rendered in heavy, rich pigment, depicted aging, cracked walls, sometimes covered in inscriptions.

Utrillo's career as an artist was encouraged by his mother, the painter and artist's model Suzanne Valadon, who was his first teacher. He was also inspired by the Impressionists Alfred Sisley and Camille Pissarro.

Colour palette: earlier prints have more muted colours and softer details, while later prints feature sophisticated printing techniques

The French painter Maurice Utrillo (1883-1955) is known for his depictions of the Montmartre neighbourhood of Paris, where he was born and raised. Utrillo's work is characterised by his use of colour and unique painting techniques.

Utrillo's early paintings, created between 1909 and 1914, are considered his most creative period, known as his "White Period". During this time, Utrillo's palette was limited, with white dominating his paintings, shading into greys. He also mixed his paints with sand, plaster, and lime to create a textured surface that resembled the physical substance of walls. This technique involved applying the paint with a palette knife, resulting in thickly trowelled paint that added depth to his two-dimensional structures.

After his "White Period", Utrillo transitioned to a more colourful palette, influenced by artists like Matisse and Chagall in the Post-Cubist period. This shift is evident in his later works, where he explored depth and colour, moving away from the flatness of his earlier Cubism-inspired compositions.

Utrillo's use of colour and texture in his paintings evolved over time. His early works from the "White Period" showcase a limited palette of whites and greys, while his later prints feature brighter colours and more sophisticated printing techniques. This evolution in his colour palette and style demonstrates Utrillo's artistic development and his ability to adapt and be inspired by the artistic trends of his time.

The recognition of these colour palette differences between Utrillo's earlier and later works can be a helpful indicator when distinguishing between original paintings and later prints or reproductions. The earlier prints' muted colours and softer details may be indicative of the period in which they were created, while the later prints' more sophisticated printing techniques could suggest a higher level of reproduction or a later period of creation.

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