Souffleur, what are putti?

Caryatids from the former sacrament tower of the Celestine monastery in Heverlee: two putti, Cornelis II Floris, 1560-1563

Caryatids from the former sacrament tower of the Celestine monastery in Heverlee: two putti, Cornelis II Floris, 1560-1563, photo: artinflanders.be, Dominique Provost

SOUFFLEUR

Putti

Like all domains, art has its own vocabulary. In 'Souffleur', employees of M explain and give background to professional terms that may sound familiar to you, but of which you may not know, or no longer know, exactly what they mean. 

Caryatids from the former sacrament tower of the Celestine monastery in Heverlee: two putti, Cornelis II Floris, 1560-1563

Caryatids from the former sacrament tower of the Celestine monastery in Heverlee: two putti, Cornelis II Floris, 1560-1563, photo: artinflanders.be, Dominique Provost

Goedele Pulinx, collaborator exhibitions: "Putti, singular form putto, are chubby, naked, sometimes winged little boys who often recur in Renaissance, Baroque and Rococo art. In iconographical terms, they date back to ancient times and the word derives from the Latin 'putus', meaning 'little boy'. The ancient precursors of the putti are the erotes, the winged gods who take their name from Eros, the son of Aphrodite, the goddess of love. In Latin, Eros is known as Cupid or Amor. He was initially depicted as a youth, later as a toddler and  he often he had an arrow-and-bow in his hand, with which he shot lovers in the heart, an image of Cupid we are still familiar with."

 

"There are hardly any putti in medieval art, but from the Renaissance onwards, they suddenly became tremendously popular. This had to do with the renewed interest in antiquity. They were associated in particular with love, and more generally with peace, prosperity and cheerfulness. There was also a religious association, the difference between putti and angels is not always clear. Over time, they took on mostly decorative roles. They became a way to liven up a scene. This can be seen especially during the Baroque and Rococo with their exuberant, festive, theatrical art. They sometimes also symbolised abstract concepts such as virtues or seasons. They were then given appropriate props."

Caryatids from the former sacrament tower of the Celestine monastery in Heverlee: two putti, Cornelis II Floris, 1560-1563

Caryatids from the former sacrament tower of the Celestine monastery in Heverlee: two putti, Cornelis II Floris, 1560-1563, photo: artinflanders.be, Dominique Provost

"M’s collection containts two alabaster puttiThese were probably made in the studio of Cornelis Floris II, a sculptor and architect from the 16th century who we mainly know as one of the master builders of the Antwerp Town Hall. Floris had made them for the sacrament tower of Heverlee's Celestine monastery. There they provided support for an image of Christ."

 

"Together with two statues of the evangelists Mark and Matthew, the putti are the only remnants of that sacrament tower and they too were almost lost. They were removed from the tower in 1566 and buried to protect them from the Iconoclasts. In 1796, when revolutionaries from Leuven razed the monastery to the ground, they could once again be brought to safety."

 

"In 1853, one of the two putti, along with the statues of Mark and Matthew, was donated to the then city museum. Then in 2017, a colleague happened to spot the second putto at an art fair. She immediately recognised it as the putti are almost identical. We were able to buy it  with the help of the City of Leuven. This autumn, both putti, as well as the two evangelists, will be on display at our major survey exhibition on alabaster."