Pentimenti

A pentimento (plural pentimenti) is an alteration in a painting, evidenced by traces of previous work, showing that the artist has changed his or her mind as to the composition during the process of painting. The word is Italian for repentance, from the verb , meaning to repent.

Pentimenti may show that a composition originally had an element, for example a head or a hand, in a slightly different place, or that an element no longer in the final painting was originally planned. The changes may have been done in the underdrawing of the painting, or by the visible layers of paint differing from the underdrawing, or by the first painted treatment of the element having been over-painted.

Some pentimenti have always been visible on the final painting with careful inspection; others are revealed by the increasing transparency that some paint acquires after several centuries. Others, especially in the underdrawing, can only be seen with modern methods such as X-rays and infrared reflectography and photographs. These are able to record photographically some pigments, depending on their chemical composition, which remain covered by later paint layers. For example, white lead, a common pigment, will be detected by X-ray, and carbon black underdrawings can often be seen with great clarity in infra-red reflectograms.[1] These methods have greatly expanded the number of pentimenti art historians are aware of, and confirmed that they are very common in the works of many old masters, from Jan van Eyck onwards.

Pentimenti are considered especially important when considering whether a particular painting is the first version by the original artist, or a second version by the artist himself, or his workshop, or a later copyist. Normally secondary versions or copies will have few if any pentimenti, although this will not always be the case, as in The Lute Player by Caravaggio. Like Rembrandt, Titian and many other masters, Caravaggio seems rarely to have made preliminary drawings, but to have composed straight onto the canvas. The number of pentimenti found in the work of such masters naturally tends to be higher.

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