The Monkey Guard - E. Auberi 18th century

Oil on panel
Traces of signature. 1730 E AUBERI

Dimensions: 20 x 27 cm, 30 x 36 cm (framed)

THE ARTWORK

This painting, belonging to the genre known as "Singerie", features monkeys dressed in human clothing, engaging in human-like activities. In the scene, the monkeys are positioned in a domestic setting, mimicking the behaviors typically associated with human professions. The comical and almost absurd portrayal of monkeys in elaborate attire highlights the satirical undertones of this genre, which became particularly popular in Flemish art during the 17th and 18th centuries.
The genre of "Singerie"—derived from the French word for monkeys—serves as a satirical commentary on human society, mocking human vanity, folly, and the customs of the time. This humorous depiction of monkeys engaging in various human activities was often used to criticize the pretensions and moral failings of humans, thus providing both amusement and reflection for viewers.
Monkeys are shown in human attire, working in environments filled with everyday objects like medical tools, furniture, and kitchenware. These familiar objects, when combined with the exaggerated antics of the monkeys, reinforce the satirical nature of the artwork. The interaction between the monkeys mirrors human professions and social behavior, perhaps critiquing those who perform such roles with hypocrisy or foolishness.
The singerie genre first gained popularity in Flemish painting in the 16th century and was further developed during the 17th century. The Flemish engraver Pieter van der Borcht is credited with introducing the singerie as an independent theme around 1575. His series of prints, heavily influenced by the artistic tradition of Pieter Bruegel the Elder, were widely disseminated. This theme was embraced by other Flemish artists, particularly those based in Antwerp, such as Frans Francken the Younger, Jan Brueghel the Elder and the Younger, Sebastiaen Vrancx, and Jan van Kessel the Elder.
During the 17th century, David Teniers the Younger became the most prominent practitioner of the singerie genre. Together with his younger brother Abraham Teniers, they expanded the reach of the genre beyond Flanders. Their playful and satirical "monkey scenes" catered to the growing demand in the art market. The genre was so popular that even artists like Nicolaes van Verendael, known mainly for flower still lifes, began painting monkey scenes as well.
THE ARTIST

The signature on this artwork, "AUBERI" suggests it may have been created by a more obscure Flemish artist. Many Flemish painters from the 17th century produced works without gaining widespread recognition, and it was not uncommon for artists to use abbreviated signatures or monograms, making attribution more challenging. The artist may have been influenced by or a follower of the Teniers brothers, or perhaps one of the many artists who worked in Antwerp and adopted the popular singerie style.
While the exact identity of the artist remains unclear, their work fits within the broader tradition of satirical Flemish art, using humor and the ridiculousness of human mimicry by animals to offer a critique of society. The exaggerated actions of the monkeys, combined with their human-like setting and attire, encourage the viewer to reflect on their own behaviors, providing both entertainment and moral insight.