Wednesday, 22 August 2012

Pentimenti and Restatements


A pentimento is an alteration to a drawing or painting where evidence of the previous work can be seen, showing where the artist has made a new decision.

Evidence can be seen in either the underdrawing or any of the subsequent layers, and most examples from the Old Masters have only been found by the use of x-ray and infrared imaging techniques, although as oil paint becomes more transparent over time, an underpainted section may show through a reworked version.

Pentimenti in drawings are easier to see, and examples often quoted are found in Leonardo da Vinci’s and Edgar Degas’ work, such as the multiple adjustments of line around the shoulder area below.

Ballet Dancer seen from behind, Degas, c.1870s
 
As more examples come to light, it has become clear that pentimenti are very common in the work of the Old Masters. They play an important part in determining the originality of a work as there should be none or at least less in subsequent copies. Painters such as Rembrandt, Titian and Caravaggio appear to have worked directly onto the canvas and thus corrections and changes are going to occur more frequently.
Marks which reveal a totally different subject are not generally classed as pentimenti. Often such examples are where the artist has begun a new work over a previous, abandoned canvas, for example Picasso’s “The Old Guitarist”. These significant or different changes are referred to in some sources as “restatements”. Picasso had begun two distinct works beneath the final layer which were identified by x-ray and infrared in 1998.

x-ray showing earlier compositions

infrared image showing woman's face

 
 
In a slight deviation from the subject, during my research I came across this site http://www.webexhibits.org/feast/analysis/reconstructing.html which examines a painting begun by Bellini, reworked by Dossi and finished by Titian, which shows the process of restatement very clearly.
 
 

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