What eight ghostly portraits found hidden inside masterpieces reveal

In the past month alone, portraits hidden in the longstanding masterpieces of Titian and Picasso have been hidden. What can they and other such discoveries tell us?

Something is getting mixed up. Every few weeks, brings news of sensational discoveries in the art world. Slung under other paintings hidden underneath and amazing masterpieces of extinct rooms, this is a masterpiece of every square millimeter we thought we knew. In this month alone, we revealed the detection of Titian and the mysterious figure trapped beneath the surface of the work. Picasso. But what is it about making this collection of slow, shaking secret stares?

In early February, researchers at Andreas Pittas Art Arctarization Laboratories at the Cyprus Institute used a new multimodal scanner that combines advanced imaging with a variety of technologies. It proved its existence Italian Renaissance Master Tizian painting of Ecce Homo, of an upside-down portrait of a mustache man holding a quill under 1570-75. On its surface, Titian canvas depicts a broken Jesus shoulder-to-shouldering with a gorgeously dressed Pontius Pilate, covered with rope-bound hands, a Roman governor who declares him. . What is this strange, erased, anachronistic scribe doing here, what is he trying to tell us?

The existence of hidden portraits. Craquelure – The fascinating cracks of old master paintings – first explained by art historian Paul Joannides, whose importance to the surface story is contingent. The identity of the Topsitterby character has not yet been determined, but it is clear that he has helped shape the composition of the wrench that has been buried for the past 450 years. An analysis of the importance of the layers of Cyprus painting shows that the face contours of hidden figures determine the curve of the rope that ties Jesus’ hands together.

A sense of quiet collaboration between layers of paint – between what was there and what was there – a hidden woman discovered by the guardians of the Courtauld Museum under the paintings of the Blue Age of Pablo Picasso The expression is even more impressive – a portrait of the artist’s friend and sculptor Mateu Fernandez de Soto. Also, portraits of a woman, which was discovered in the use of infrared imaging technology, have been rendered in a more impressive style of previous years and brought to the surface, whispering to DeSoto’s ears as in the past. It can be seen and the existence was merged at a single interrupted moment.

Most of the time, these buried portraits are merely ghosts of rejected compositions that we had no intention of seeing. surface. X-rays discover hidden sketches, but infrared reflective photography can expose subtle details hidden by old varnishes. Once revealed, these portraits require consideration. Below is a short survey of some of the most attractive and mystical portraits (very frequently self-portraits).

Think of Rembrandt. We tend to first think of the eternal stage made from charcoal and sombrass umbers at the beginning of a dimly lit, unstable realm where his sitter sits outside of time. What we don’t think about is that whimsical greenery and flashy insects are lit up the space with vibrant and courage. But that’s precisely what we found researchers were staring at them when they had master’s degree in Dutch, elderly people dressed in military costumes, macro x-ray fluorescence (MA-XRF) imaging and infrared reflectance photographs. It’s something. The dizzy ghost of an unpleasant young man, dressed in Rafiche Red and unruly Verdigris, trapped under a meditation on Rembrandt’s mortality, reinforces the painfulness of his masterpiece.

In some paintings, the more we see, the less we know. Portrait of St. Catherine of Alexandria in Artemisia gentileschi, 1619. It was revealed She started her work as a self-portrait. This is very similar to the previous and equally entitled self-portraits as St. Catherine of Alexandria, which began around 1615. Works – Replace turbans for crown and holey gaze. of Caterina de Medici, daughter of Grand Duke Ferdinand de Medici, who commissioned the work. As a result, artists may be able to let go of their paintings, but paintings cannot completely let go of the artist.

Caravaggio only signed one painting during his lifetime, and in 1608 he had a ghoulish talent, the glow of blood at the bottom of the biggest painting he ever made, the beheading of John the Baptist. That’s what I did. I inserted it into a picture similar to my own. 2009 Scholars using advanced reflective photography It has penetrated The cracked surface of the depiction of Bacchus, the Roman wine god, rehabilitates the small self-portraits he secretes with his reflections of Caraph (almost all that the clumsy restoration efforts have become obscure after the poetics of the portrait It was a subliminal detail. -portrait was first discovered in 1922). This strange and distorted, now, now, in a wine container, not now, now. .

Late, a century ago of the great filmmaker David Lynch By taking him under the suburban lawn and finding what writhes in the soil of his film Blue Velvet (1986), Vincent van Gogh, a viewer with a volatile viewer, was 1887. The deceptively busy burying things under the sunny grass. Strength X-rays from particle accelerators, The researcher was successful Unearthed from under the blue blade of grass, he excavated a gloomy portrait of a peasant woman that the artist had painted years ago. This discovery is further evidence that, when it comes to Van Gogh, no matter how delightful the work is, something may always appear to be agitated beneath the surface.

On the surface, Young woman is powdering herself It’s a playful meditation on how subjects and styles overlap. Here, Georges Sourat employs his pioneering point-iist techniques to draw his mistress Madeleine Noblock, and his mistress Madeleine Noblock, Masu. Light paint on the paint looks like it’s swirling in the air, but it won’t clog it. Some people stare at the powder in a phorical way. The light paint of these cleverly unfolded paint is equally revealed and erased, as if summoning the world just to suck it out again. That radiant sense of surreptitiousness is enhanced by the discovery of a hidden self-portrait – Surat’s only known – in an open window that later hidden under another gust of wind depicting a vase of flowers. How is it Dotty?

Some people refuse to be forgotten no matter how hard you try from your memory. Italian modernist Portrait of famous girl in Amedeo Modigliani1917 is an attractive case. Some scholars suspect that a full-length portrait of a woman hidden beneath a visible image may portray the ex-lovers that Modigliani ended their relationship a year ago. In 2021, the two doctoral candidates at the University of London use artificial intelligence to resemble Modigliani’s former muse and mistress Beatrice Hastings. Although both surface and hidden female identities remain uncertain, layering reinforces the themes of concealment and masking in Modigliani’s work.

In his 1943 painting, La Cinquiem Saison, Rene Magritte, profiles of two almost identical men with props and bowler hats, often showing the presence of his alter ego in the artist’s work. It is depicted in. Both men hold small framed paintings under their arms as they walk towards each other. The trajectory of their journey suggests that it is not a close mistake, an impending collision like a solar eclipse, as one person and the painting slide behind the other. Somehow, this picture seems to be suitable for this picture, this picture of shuffle painting. It was discoveredusing infrared reflective photography, completely hide another painting hidden beneath its surface. This is a portrait of a mysterious woman who has a strong resemblance to the artist’s wife Georgette and has completely different characteristics. The discovery of hidden portraits simply amplifies the themes that surround the duality in the work of artists known for their images that tease his betrayal.