Simply "Vincent": Why did the artist mostly sign his name and sign so few works?

A new study has revealed that Vincent van Gogh, one of the most celebrated artists in history, signed only about 15 percent of his known paintings during his career. The research, conducted under the auspices of the Van Gogh Museum in Amsterdam, was published in an article titled Simply “Vincent”: A Survey of Van Gogh’s Signed Paintings by researcher Julia Engelmayer. According to the findings, out of approximately 840 known works attributed to van Gogh, he signed just 133. This means that nearly 85 percent of his paintings remain unsigned, a figure that raises intriguing questions about the artist's attitude toward his own work and legacy. The study highlights that van Gogh often signed his works with just his first name, omitting his surname. This practice was particularly common outside the Netherlands, where locals might have found it difficult to pronounce or remember his last name. The research draws heavily on van Gogh’s letters, which provide insight into his artistic philosophy and personal views on his creations. He frequently described his paintings as exercises or preparations rather than final products, suggesting that he viewed them more as part of his creative process than as finished pieces meant for public display or sale. Van Gogh’s decision to sign fewer works became more pronounced after he moved to Paris in the mid-1880s. During this period, his commercial ambitions grew, and he began signing more paintings regularly. However, as his mental health deteriorated later in life, the number of signed works decreased significantly. Many of the paintings he did sign were gifts to family members or friends, while others were created in exchange for portraits or other artworks. One notable example is Three Pairs of Shoes from 1886, which van Gogh exchanged with Australian artist John Peter Russell. This painting features two distinct signatures, one small and barely visible, carved in van Gogh’s characteristic style, and another large, printed signature resembling Russell’s handwriting. It remains unclear why Russell added the second signature, though speculation suggests he may have found van Gogh’s signature too faint or modest for visibility. In some cases, van Gogh used his signature to emphasize certain aspects of a painting. For instance, in Marine Landscape near Les Saintes-Maries-de-la-Mer from 1888, he placed a bold red signature in the lower left corner. In a letter to his brother Theo, he explained that he wanted to add “red notes in green” to enhance the composition. This deliberate choice underscores how van Gogh sometimes treated his signature not merely as an identifier but as a compositional element. Despite the relatively low percentage of signed works, van Gogh’s signature carries significant weight in art historical analysis. Its presence can offer clues about the date of creation, the intended audience, and even the emotional state of the artist at the time. Conversely, the absence of a signature adds layers of mystery and interpretation, inviting scholars and collectors to consider alternative attributions and provenance issues. The study emphasizes that both the presence and absence of van Gogh’s signature contribute uniquely to understanding his body of work. Van Gogh’s reluctance to sign many of his paintings contrasts sharply with the practices of his contemporaries, who often signed their works more frequently. His approach reflects a complex relationship with fame, recognition, and the value he placed on his artistic output. While he occasionally signed paintings for practical reasons, such as exchanges with fellow artists or as gifts, he generally seemed uninterested in attaching his name to his work in a formal or commercial sense. This perspective aligns with his broader view of art as a deeply personal expression rather than a product meant for market consumption. The research continues to explore the nuances of van Gogh’s signing habits, including variations in the placement, size, and style of his signature across different periods of his career. These details may help further refine the chronology of his works and deepen the understanding of his evolving artistic identity. As the study progresses, it promises to shed additional light on one of the most iconic figures in art history through the lens of a seemingly minor yet revealing detail, the artist’s own signature.