Abstract The type and frequency of artists’ signatures generally varied among Italian Renaissance painters. The artists’ names appeared in fictively carved inscriptions in stone, in handwritten notes fictively appended to the surfaces of the paintings or placed somewhere within the represented scenes, and in the borders of the picture frames. The interpretations given to these early modern signatures by art historians have been somewhat less diverse, however, and, despite slight nuances, most fall under the general category of self-referential statements of artistic authority. But these interpretations overlook the internally divided agency demonstrated by some of the signatures executed by the sixteenth-century Venetian painter Titian, several of which are difficult to find; these signatures simultaneously fail to demand our attention and figure their own vulnerability. This article will situate Titian’s furtive signatures within the complex social dynamic of early modern courts, while at the same time considering how his signatures engage with early modern conceptions of the rich textuality—the indeterminacy—of signatures and proper names.

中文翻译：

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Titian的隐藏签名

摘要在意大利文艺复兴时期的画家中，艺术家签名的类型和频率通常有所不同。艺术家的名字出现在石头上虚构的雕刻铭文中，手写的笔记虚构地附在画的表面上，或放置在所代表的场景中的某个地方，以及在相框的边框中。艺术史学家对这些早期现代签名的解释虽然差异不大，但是尽管有细微差别，但大多数属于艺术权威的自我参照陈述的一般范畴。但是这些解释忽视了内部分裂的机构，该机构由十六世纪的威尼斯画家提香（Titian）所执行的一些签名所展示，其中有些很难找到。这些签名同时无法引起我们的注意并无法确定自己的漏洞。本文将Titian的偷偷签名置于早期现代法院复杂的社会动态中，同时考虑了Titian的签名如何与签名和专有名称的丰富文本性（不确定性）的早期现代概念结合在一起。