Elena Rossi
Paintings have long been a medium for artists to express their thoughts, emotions, and political beliefs. In some cases, paintings may even hide secrets, such as the discovery of mysterious figures and portraits hidden beneath the surface of works by artists like Titian, Picasso, and Rembrandt. One such example is the recent revelation of an upside-down portrait beneath Titian's Ecce Homo using advanced imaging technology. Similarly, a hidden countenance of a woman was found beneath a painting from Picasso's Blue Period, whispering into the ear of the artist's friend, Mateu Fernández de Soto. These discoveries offer a glimpse into the creative process and the evolution of a work of art, enhancing our understanding of the artist's intentions and adding to the intrigue of the final masterpiece.
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What You'll Learn
- The original artwork on the other side of Gentile da Fabriano's 'The Coronation of the Virgin' was 'St. Francis Receiving the Stigmata'
- Two-sided paintings were designed to be viewed from both sides
- 'Wanderer above the Sea of Fog' by Caspar David Friedrich is considered an emblem of self-reflection
- Advanced imaging technology has revealed hidden portraits beneath paintings by Picasso and Titian
- X-ray fluorescence imaging has revealed a ghostly portrait beneath Rembrandt's 'An Old Man in Military Costume'
The original artwork on the other side of Gentile da Fabriano's 'The Coronation of the Virgin' was 'St. Francis Receiving the Stigmata'
The original artwork on the other side of Gentile da Fabriano's "The Coronation of the Virgin" was "St. Francis Receiving the Stigmata". This was discovered by Davide Gasparotto, the senior curator of paintings at the Getty Museum. The artwork was created in the early 15th century when Fabriano was visiting his hometown. It is believed that the painting was commissioned either by Franciscan monks in Fabriano, Italy, or by a confraternity of their supporters, most likely through the Church of San Francesco (St. Francis) in Fabriano. The painting was held in this church until the early 1800s.
The Italian term "segno" describes an object with a pole that is topped by a depiction linked to the organisation it represents. These standards were designed to be viewed from both sides, with the painting on one side honouring significant events in Christian teachings, and the other side displaying a symbol promoting the confraternity that funded the "segno". As such, the two-sided standard likely did not have a permanent "front", and the front panel would depend on the context of the celebration. In this case, the "Coronation/St. Francis" standard would be carried on feast days for the Virgin and St. Francis, respectively.
The original artwork, "St. Francis Receiving the Stigmata", is now held in the Magnani Rocca Foundation, a private collection outside of Parma, Italy, which is open to the public.
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Two-sided paintings were designed to be viewed from both sides
Two-sided paintings, also known as "standards," were designed to be viewed from both sides and were commonly used in the Middle Ages and Renaissance periods. These paintings were often commissioned by religious organizations or confraternities for devotional and celebratory purposes. One side of the painting would typically depict significant events or figures in Christian teachings, while the other side would feature a symbol or artwork promoting the group that commissioned and paid for the piece.
An example of such a two-sided painting is Gentile da Fabriano's "The Coronation of the Virgin," which was commissioned by either Franciscan monks in Fabriano, Italy, or a confraternity associated with them. The painting, now at the Getty Center, originally had another painting by Gentile on its reverse: "St. Francis Receiving the Stigmata." This second artwork is now housed in the Magnani Rocca Foundation in Italy and is open to the public.
The two-sided nature of these paintings meant that they likely did not have a permanent "front." Instead, the side considered the "front" would depend on the context and the celebration at the time. For example, during feast days for the Virgin Mary, "The Coronation" side would be displayed, while on feast days for St. Francis, the "St. Francis Receiving the Stigmata" side would be shown.
While the practice of creating two-sided paintings may be less common today, the concept of layered artwork continues to intrigue and fascinate. Modern technology, such as infrared imaging and X-ray fluorescence, has revealed hidden portraits and compositions beneath the surfaces of famous paintings by artists like Picasso, Titian, Rembrandt, and Artemisia Gentileschi. These discoveries provide a glimpse into the creative process and the evolution of a work of art, adding depth and complexity to our understanding of these masterpieces.
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'Wanderer above the Sea of Fog' by Caspar David Friedrich is considered an emblem of self-reflection
Caspar David Friedrich's "Wanderer above the Sea of Fog" is regarded as an emblem of introspection and contemplation on life's journey. The German Romanticist artist created the painting in 1818, and it depicts a man standing on a rocky precipice with his back to the viewer, gazing out at a misty landscape. The work is considered a masterpiece of the Romantic movement and one of its most representative pieces.
The use of the Rückenfigur (German for "rear-facing figure") in Friedrich's paintings is notable, and this particular painting is perhaps the most famous example of this technique due to the figure's prominence. The man's anonymous visage invites viewers to project themselves into the scene, encouraging them to contemplate the path ahead and the unknown future. This sense of mystery and open-endedness sets Friedrich's work apart from other Romantic pieces, which often convey a sense of certainty about the course of action required.
The painting's subject matter and composition are believed to reflect Friedrich's German liberal and nationalist sentiments. The figure's solitary stance atop a mountain peak has been interpreted as a powerful symbol of individualism and a break from traditional artistic standards, where figures typically faced the viewer or were shown in profile. Friedrich's innovative use of Rückenfigur encourages viewers to consider the perspective of the faceless figure, fostering a sense of inclusion and shared mystery.
The painting's impact extended beyond the art world, influencing how mountain climbing was perceived in the Western world during and after the Romantic era. Robert Macfarlane describes the painting as the "archetypical image of the mountain-climbing visionary," highlighting its role in shaping the perception of mountain climbing as an admirable endeavour. Friedrich's work, with its emphasis on winter landscapes and mist, gained wider recognition in the early 20th century and became a source of inspiration for various works, appearing on book covers, merchandise, and more.
"Wanderer above the Sea of Fog" serves as a powerful reminder of the importance of introspection and self-reflection. By inviting viewers to contemplate the unknown future through the anonymous figure, Friedrich's masterpiece continues to resonate and inspire generations long after its creation.
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Advanced imaging technology has revealed hidden portraits beneath paintings by Picasso and Titian
The world of art is often subject to sensational discoveries, such as paintings hidden under other paintings. In February 2025, researchers at the Andreas Pittas Art Characterization Laboratories at the Cyprus Institute used advanced imaging and a new multi-modal scanner to reveal an upside-down portrait of a mustachioed man holding a quill beneath Italian Renaissance master Titian's painting Ecce Homo (1570-75). The man in the hidden portrait may have inspired the curve of the ropes binding Jesus's hands in the final painting.
In the same month, researchers at the Courtauld Institute of Art in London discovered a hidden portrait of a woman beneath Pablo Picasso's 1901 painting 'Portrait of Mateu Fernández de Soto' from his Blue Period. The woman's identity remains unknown, but she may have been an early model for de Soto, as she appears to be whispering into his ear. The researchers used infrared imaging technology to uncover the hidden portrait, which was likely painted over by Picasso a few months later.
These discoveries were made possible by advanced imaging technologies, including infrared and X-ray imaging, that allow art historians and conservators to safely examine the layers beneath the surface of a painting without causing any harm to the artwork. These tools have provided valuable insights into the creative processes of artists like Picasso and Titian, revealing how they reworked and transformed their compositions over time.
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X-ray fluorescence imaging has revealed a ghostly portrait beneath Rembrandt's 'An Old Man in Military Costume'
Rembrandt's "An Old Man in Military Costume" is a 380-year-old masterpiece with a secret. Beneath the famous figure in the feathered cap and metal breastplate hides a much younger man, which researchers have uncovered using advanced X-ray technology.
The presence of a hidden figure was first discovered in 1968 when the painting was first X-rayed. However, at the time, the technology could not see past the painting's upper coats, and only a vague idea of the hidden figure could be gleaned.
In recent years, a team of researchers at the Getty Conservation Institute has revisited the painting, using a new tool known as macro-X-ray fluorescence (MA-XRF) scanning. This technique allowed them to scan the painting's chemical composition at higher resolutions, matching specific elements to paint colours. The MA-XRF scanning was combined with neutron activation autoradiography (NAAR) to reveal the second, hidden painting. NAAR provided a strong image of the underlying figure's face and cloak, while MA-XRF mapping provided additional details about the shape of the underlying image and the composition of the pigments used.
The underlying figure's face is richer in mercury, indicative of the pigment vermilion, while his cloak is richer in copper. The analysis also showed that Rembrandt revised his original image by repainting the eyes in a slightly lower position.
The hidden figure may be a self-portrait of the 17th-century artist when he was younger, or another character study (known as a "tronie") in which Rembrandt used his own features. The painting is known to have been painted on a high-quality oak panel, and it is believed that Rembrandt reused his supports (such as wood panels and canvases) throughout his career, often painting over initial compositions with different images.
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