Lena Rivera
The act of repainting a classic painting is known as a pentimento (plural pentimenti), derived from the Italian word for 'repentance'. It refers to the emergence of earlier images, forms, or brushstrokes that have been altered and painted over. Pentimenti reveal the creative process of the artist, showcasing changes made to the original composition. These alterations may be due to the artist's evolving vision or a shift in the narrative they wish to convey. Artists might also repaint a classic painting to create a new interpretation, distancing themselves from the original referents, often referred to as abstract art or non-representational art.
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What You'll Learn
The act of repainting is called 'pentimento' (Italian for 'repentance')
The act of repainting or reworking a previously created painting is known as "pentimento" derived from the Italian word for "repentance" or "regret." This term is used to describe the process of an artist changing their mind and altering a work of art, often by painting over or making adjustments to an existing composition. Pentimento is an interesting aspect of art history and conservation, as it provides insight into an artist's creative process, their initial intentions, and their evolution of thought.
When an artist repaints a portion of a work, it is usually because they are not satisfied with a particular element or wish to make a change to the overall composition. This could be due to a change in their artistic vision, a desire to correct a perceived error, or simply an experimentation with different techniques or styles. By examining these changes, art historians and conservators can gain a better understanding of the artist's thought process and the evolution of their ideas.
The discovery of pentimenti is often made through technical analysis and the use of advanced imaging techniques. These methods can reveal underlying layers of paint, sketches, or changes made by the artist. Such discoveries provide valuable insights into the creative process, sometimes even uncovering hidden secrets or revealing unknown aspects of a painting's history. In some cases, these underlying images or changes can be clearly seen with the naked eye, especially if the paint has become transparent over time.
The concept of pentimento adds an intriguing layer of complexity to the understanding of a painting's history and the artist's intentions. It showcases the dynamic nature of the creative process, highlighting that a work of art is rarely static but rather a result of an evolving vision. By studying these alterations, art enthusiasts, historians, and conservators can piece together the story behind the creation of a particular artwork, gaining a deeper appreciation of the artist's craft.
Additionally, the presence of pentimenti can significantly impact the value and authenticity of a painting. Art collectors and experts often view these alterations as a testament to the artist's working method and a unique part of the artwork's history. In some cases, pentimenti can even be used to authenticate a work, providing evidence of an artist's hand and their specific approach to creating art.
In conclusion, the act of repainting a classic painting, or any artwork, is an intriguing aspect of art history and conservation. The term "pentimento" captures the essence of an artist's changing mind and evolving creative vision. Through the study of these alterations, a deeper understanding and appreciation of the artistic process can be gained, providing a fascinating glimpse into the mind of the artist.
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'Fat over lean' technique
I could not find a specific term for repainting a classic painting. However, I did find that the term "pentimento" (plural: pentimenti) refers to "the presence or emergence of earlier images, forms, or strokes that have been changed and painted over."
Now, here is some detailed information about the "Fat over Lean" technique:
The "Fat over Lean" technique is a method used in oil painting to ensure the paint adheres properly and dries at the appropriate times, preventing the painting from cracking or becoming damaged. This technique does not refer to the thickness of the paint but rather the amount of oil in the paint. "Fat" paint refers to paint with a higher ratio of oil to color pigments, resulting in a glossy, sticky texture with a sheen. "Lean" paint, on the other hand, has a lower ratio of oil to color pigments and is created by adding oil painting solvents like spike oil or turpentine to the paint to dilute it and make it drier and thinner with less sheen.
When using the "Fat over Lean" technique, artists start with lean paint for the bottom layers, which allows these layers to dry faster. As the painting progresses, they gradually add more oil to the paint, making the upper layers "fatter." This ensures that the upper layers dry slower than the lower layers, creating a flexible paint film that will not crack over time as the paint dries and ages.
There are different approaches to building paint layers following the "Fat over Lean" rule. One approach is to maintain the same ratio of painting medium to oil color throughout the painting but modify the fat content of the medium between layers. In this method, the initial layers are mixed with a lean solvent like Gamsol, while the upper layers have more oil added, using mediums like Galkyd oil or drying oils such as linseed, stand, or poppy oil. This ensures that the bottom layers are leaner than the upper layers, with the top layers having more oil and drying slower.
The "Fat over Lean" technique is particularly important when working with impasto or using many layers of paint that are allowed to dry first. It helps prevent cracking in the paint film, which can occur when using certain techniques like glazing. Artists like Jeffrey Catherine Jones have successfully used a similar approach, applying paint very thinly with just turpentine, resulting in paintings that have lasted over 50 years without cracking.
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Using underpainting to block out the original image
Underpainting is a foundational technique in painting, where the first layer of paint sets the stage for the entire artwork. It is a strategic approach that offers a blueprint for composition, tonal values, and colour scheme. This layer is typically thin, translucent, and monochromatic, providing a cohesive foundation that enhances the luminosity and vibrancy of the colours added later.
When using underpainting to block out the original image on a canvas, it is important to spread the paint evenly across the surface, ensuring enough opacity to conceal the original image. This process can take time, as the underpainting layer must be allowed to dry thoroughly before proceeding. The paint mixture and application technique can vary depending on the desired effect and the characteristics of the original painting. For instance, a mixture of Yellow Ochre, Vermilion, Titanium White, and white spirit creates a creamy, mid-tone underpainting that effectively masks the previous image.
The underpainting layer also influences the perception and application of colour in the final painting. Artists can select specific underpainting colours to complement or contrast with the hues in the original artwork, such as using Burnt Sienna to add warmth or Ultramarine Blue to create a cool undertone. This initial layer can be especially beneficial when working with complex compositions or technical drawings, as it simplifies the basic shapes and values, making it easier to sketch and make changes without committing to colour.
Additionally, the underpainting can interact with the original painting's texture, creating a unique dialogue between the old and new layers. The ridges and bumps of the previous artwork can catch the new paint in thick, irregular splodges, resulting in a rich, impasto feel. This fusion of the old and new paint layers adds depth and a creative, abstract dimension to the final artwork.
By taking the time to create a strong foundation through underpainting, artists can effectively block out the original image and establish a solid base for their new composition. This process not only conceals the previous artwork but also enhances the overall cohesion, depth, and vibrancy of the final painting.
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Pentimenti can be revealed by X-rays and infrared reflectography
The act of repainting a classic painting is called a "pentimento" (plural: "pentimenti"), derived from the Italian word for "repentance". Pentimenti refer to the emergence of earlier images, forms, or brushstrokes that have been altered and painted over. While some pentimenti have been visible to the naked eye, others hidden beneath layers of paint can be revealed through modern techniques such as X-rays and infrared reflectography.
X-ray and infrared reflectography techniques have been instrumental in uncovering pentimenti in artworks, providing valuable insights into the creative processes of renowned artists. These methods capture photographic records of specific pigments, depending on their chemical composition, even when obscured by subsequent layers of paint. For instance, white lead, a commonly used pigment, can be effectively detected by X-ray examinations. Similarly, carbon black underdrawings often become distinctly visible through infrared reflectograms.
The application of these modern techniques has led to significant discoveries of pentimenti in the works of several old masters, including Jan van Eyck. The detection of pentimenti has played a crucial role in authenticating artworks, distinguishing original creations from later copies or forgeries. By examining the underlying changes made by the original artist, experts can determine whether a painting is an initial version or a subsequent variation.
Infrared reflectography, in particular, has been instrumental in uncovering pentimenti in various renowned paintings. For example, infrared reflectograms revealed minor pentimenti in Caravaggio's "The Cardsharps", altering the positioning of the figure on the right. Similarly, Zurbarán's "Christ and the Virgin in the House at Nazareth" displayed pentimenti, indicating that the size of a white cloth was enlarged after the application of the dark background underpainting.
While X-rays and infrared reflectography have been invaluable tools, it is important to note that the interpretation of pentimenti requires careful consideration. In some cases, marks revealing significant changes or indicating the work of a different painter may not be classified as pentimenti. For instance, in Picasso's "The Old Guitarist", the artist abandoned the earlier composition to start anew, and these alterations would not typically be described as pentimenti.
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Pentimenti can help determine if a painting is an original or a copy
The act of repainting a classic painting is called a "pentimento" (plural pentimenti), derived from the Italian word for 'repentance'. Pentimenti refer to "the presence or emergence of earlier images, forms, or strokes that have been changed and painted over". They indicate that a composition originally had an element, such as a head or hand, in a different position, or that an element no longer in the final painting was initially intended to be included.
Pentimenti are important in determining the authenticity and originality of a painting. They are considered evidence of the artist's creative process and evolution of ideas. When examining a painting, the presence of pentimenti can suggest that it is an original work by the artist, rather than a copy or reproduction. This is because forgers or copyists typically aim to replicate the original composition without making changes.
Art historians and experts employ modern methods such as X-rays, infrared reflectography, and photographs to detect pentimenti. These techniques can reveal underlying pigments and compositions that have been painted over. For instance, white lead, a common pigment, can be identified by X-ray, while carbon black underdrawings are often visible through infrared reflectograms.
The discovery of pentimenti can provide valuable insights into an artist's working methods and creative decisions. For example, in the painting "The Cardsharps" by Caravaggio, infrared reflectograms revealed minor pentimenti that altered the position of the figure on the right. Similarly, in Zurbarán's "Christ and the Virgin in the House at Nazareth," it was discovered that the size of a white cloth was expanded after the application of the dark background underpainting.
In some cases, the identification of pentimenti can lead to a reevaluation of a painting's status. For instance, the discovery of pentimenti during the conservation and cleaning of Manet’s Le déjeuner sur l'herbe led the Courtauld Institute to change its opinion, concluding that it was a preparatory painting that predated the final version, rather than a mere copy.
In summary, pentimenti serve as valuable indicators of a painting's originality and authenticity. They provide insights into the artist's creative process and can help distinguish an original work from a copy, as forgers or copyists are less likely to deviate from the original composition. Through the use of modern technological methods, art historians can uncover these hidden layers and gain a deeper understanding of the artist's intentions and working methods.
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Frequently asked questions
The term is "pentimento" (plural: "pentimenti"), which is derived from the Italian word for "repentance".
Pentimenti refer to "the presence or emergence of earlier images, forms, or strokes that have been changed and painted over".
Pentimenti can be observed with the naked eye, or through modern methods such as X-rays, infrared reflectography, and photographs.
Art historians use pentimenti to determine whether a painting is an original or a copy. They can also provide insight into the artist's creative process and changes in composition.
