Computer Vision and Computer Graphics Analysis of Paintings and Drawings: An Introduction to the Literature

In the past few years, a number of scholars trained in computer vision, pattern recognition, image processing, computer graphics, and art history have developed rigorous computer methods for addressing an increasing number of problems in the history of art. In some cases, these computer methods are more accurate than even highly trained connoisseurs, art historians and artists. Computer graphics models of artists' studios and subjects allow scholars to explore ``what if'' scenarios and determine artists' studio praxis. Rigorous computer ray-tracing software sheds light on claims that some artists employed optical tools. Computer methods will not replace tradition art historical methods of connoisseurship but enhance and extend them. As such, for these computer methods to be useful to the art community, they must continue to be refined through application to a variety of significant art historical problems.

[1]  J. Mureika J un 2 00 5 On Multifractal Structure in Non-Representational Art , 2005 .

[2]  David J Field,et al.  Statistical regularities of art images and natural scenes: spectra, sparseness and nonlinearities. , 2007, Spatial vision.

[3]  David G. Stork,et al.  Painted or printed? Correlation analysis of the brickwork in Jan van der Heyden's View of Oudezijds Voorburgwal with the Oude Kerke in Amsterdam , 2009, Electronic Imaging.

[4]  Anna Bentkowska-Kafel,et al.  Computer Vision and Image Analysis of Art II , 2010 .

[5]  David G. Stork,et al.  Tracing the history of art , 2005, Nature.

[6]  David G. Stork,et al.  Did Hans Memling Employ Optical Projections When Painting Flower Still-Life? , 2005, Leonardo.

[7]  S. Blair Hedges,et al.  A method for dating early books and prints using image analysis , 2006, Proceedings of the Royal Society A: Mathematical, Physical and Engineering Sciences.

[8]  Robert Sablatnig,et al.  Registration of Multi-spectral Manuscript Images as Prerequisite for Computer Aided Script Description , 2007 .

[9]  David G. Stork,et al.  Were optical projections used in early Renaissance painting? A geometric image analysis of Jan van Eyck's “Arnolfini Portrait” and Robert Campin's “Merode Altarpiece” , 2004, IS&T/SPIE Electronic Imaging.

[10]  Bronwen Brown Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters , 2002 .

[11]  Christopher Tyler,et al.  Rosetta Stone? Hockney, Falco and the Sources of Opticality in Lorenzo Lotto's Husband and Wife , 2004, Leonardo.

[12]  David J Field,et al.  Variations in Intensity Statistics for Representational and Abstract Art, and for Art from the Eastern and Western Hemispheres , 2008, Perception.

[13]  Antonio Criminisi,et al.  Paolo Uccello’s “Rout of San Romano”: Order from Chaos , 2005 .

[14]  David G. Stork,et al.  Recovering layers of brush strokes through statistical analysis of color and shape: an application to van Gogh's Self portrait with grey felt hat , 2008, Electronic Imaging.

[15]  Ingeborg Tastl,et al.  Model-based classification of painted portraits , 1996 .

[16]  Eric O. Postma,et al.  Computerized visual analysis of paintings , 2005 .

[17]  C. Sparrow The Fractal Geometry of Nature , 1984 .

[18]  D. Stork Optics and realism in Renaissance art. , 2004, Scientific American.

[19]  David G. Stork,et al.  Optical or mechanical aids to drawing in the early Renaissance? A geometric analysis of the trellis work in Robert Campin's Mérode Altarpiece , 2009, Electronic Imaging.

[20]  David G. Stork,et al.  Estimating the location of illuminants in realist master paintings Computer image analysis addresses a debate in art history of the Baroque , 2006, 18th International Conference on Pattern Recognition (ICPR'06).

[21]  Alessandro Piva,et al.  Multispectral imaging of paintings , 2008, IEEE Signal Processing Magazine.

[22]  Siwei Lyu,et al.  A digital technique for art authentication , 2004, Proc. Natl. Acad. Sci. USA.

[23]  Antonio Criminisi,et al.  Did the great masters use optical projections while painting? Perspective comparison of paintings and photographs of Renaissance chandeliers , 2004, Proceedings of the 17th International Conference on Pattern Recognition, 2004. ICPR 2004..

[24]  Robert Sablatnig,et al.  Hierarchical classification of paintings using face- and brush stroke models , 1998, Proceedings. Fourteenth International Conference on Pattern Recognition (Cat. No.98EX170).

[25]  David Saunders,et al.  Investigation and Modelling of Colour Change in Paintings During Conservation Treatment , 1996 .

[26]  H. V. Imhoff,et al.  Seeing Through Paintings: Physical Examination in Art Historical Studies , 2000 .

[27]  David G. Stork Learning-based authentication of Jackson Pollock's paintings , 2009 .

[28]  David G. Stork,et al.  Lighting analysis of diffusely illuminated tableaus in realist paintings: an application to detecting "compositing" in the portraits of Garth Herrick , 2009, Electronic Imaging.

[29]  David G. Stork,et al.  Computer Vision and Image Analysis of Art , 2010 .

[30]  S. B. Kang,et al.  Reflections of Reality in Jan van Eyck and Robert Campin , 2004 .

[31]  David Saunders,et al.  Ten years of art imaging research , 2002, Proc. IEEE.

[32]  Keith T. Knox,et al.  Enhancement of overwritten text in the Archimedes Palimpsest , 2008, Electronic Imaging.

[33]  Robert Sablatnig,et al.  Texture based Drawing Tool Classification in Infrared Reflectograms ∗ , 2005 .

[34]  Robert Sablatnig,et al.  Structural analysis of paintings based on brush strokes , 1998, Electronic Imaging.

[35]  David G. Stork,et al.  Illumination and Color in the Hockney Theory of Renaissance Painting Praxis: A Critical Evaluation , 2003, Color Imaging Conference.

[36]  David G. Stork,et al.  Evidence for mechanical (not optical) copying and enlarging in Jan van Eyck's Portrait of Niccolò Albergati , 2004 .

[37]  David G. Stork,et al.  Computer graphics synthesis for inferring artist studio practice: an application to Diego Velázquez's Las Meninas[ , 2009, Electronic Imaging.

[38]  Harsh Mathur,et al.  Fractal Analysis: Revisiting Pollock's drip paintings , 2006, Nature.

[39]  Sven Dupr Optics, instruments and painting, 1420-1720: reflections on the Hockney-Falco thesis. , 2005 .

[40]  David G. Stork,et al.  Aberration analysis of the putative projector for Lorenzo Lotto’s Husband and wife , 2007 .

[41]  David Hockney,et al.  Quantitative analysis of qualitative images , 2005, IS&T/SPIE Electronic Imaging.

[42]  Alan J. DeWeerd,et al.  Comment on “Anamorphic images,” by J. L. Hunt, B. G. Nickel, and Christian Gigault [Am. J. Phys. 68(3), 232–237 (2000)] , 2006 .

[43]  Kirk Martinez,et al.  Colour cluster analysis for pigment identification , 2008, Electronic Imaging.

[44]  K JohnsonMicah,et al.  Computer Vision, Image Analysis, and Master Art , 2006 .

[45]  Roger L. Easton,et al.  Multispectral imaging of the Archimedes palimpsest , 2003, 32nd Applied Imagery Pattern Recognition Workshop, 2003. Proceedings..

[46]  David G. Stork,et al.  ANAMORPHIC ART & Photography DELIBERATE DISTORTIONS THAT CAN BE EASILY UNDONE , 1992 .

[47]  Christoph Lüthy Reactions of historians of science and art to the Hockney thesis: Summary of the European science foundation's conference of 12-15 November, 2003 , 2004 .

[48]  Ioannis Pitas,et al.  Digital color restoration of old paintings , 2000, IEEE Trans. Image Process..

[49]  Henri Maître,et al.  15 years of image processing and the fine arts , 2001, Proceedings 2001 International Conference on Image Processing (Cat. No.01CH37205).

[50]  David Stork Optique et réalisme dans l'art de la Renaissance , 2005 .

[51]  Hubert Damisch,et al.  The origin of perspective , 1994 .

[52]  James Ze Wang,et al.  Content-based image indexing and searching using Daubechies' wavelets , 1998, International Journal on Digital Libraries.

[53]  Hany Farid,et al.  Unfolding Sennedjem ’ s Tomb by , 2022 .

[54]  David G. Stork,et al.  Image Contour Fidelity Analysis of Mechanically Aided Enlargements of Jan van Eyck's Albergati Portrait , 2010, Leonardo.

[55]  David G. Stork,et al.  Inferring illumination direction estimated from disparate sources in paintings: an investigation into Jan Vermeer's Girl with a pearl earring , 2008, Electronic Imaging.

[56]  Frank Nack Faithfulness Is Not Static , 2007, IEEE MultiMedia.

[57]  Robert Sablatnig,et al.  Drawing tool recognition by stroke ending analysis , 2008, Electronic Imaging.

[58]  David G. Stork,et al.  Seeing the Light: Optics in nature, photography, color, vision, and holography , 1985 .

[59]  David G. Stork,et al.  Color and Illumination in the Hockney Theory: A Critical Evaluation , 2003, Color and Imaging Conference.

[60]  P. E. Toschek,et al.  Comment on “Impossibility of distant indirect measurement of the quantum Zeno effect” , 2005 .

[61]  Antonio Criminisi,et al.  Machine Vision: the Answer to the Optical Debate? , 2004 .

[62]  Douglas W. Druick,et al.  Seurat and the Making of La Grande Jatte , 2004 .

[63]  David Hockney,et al.  Optical Insights into Renaissance Art , 2000 .

[64]  Louise Greene,et al.  SEEING THROUGH PAINTINGS: PHYSICAL EXAMINATION IN ART HISTORICAL STUDIES (Materials and meaning in the fine arts, vol. 1). Andrea Kirsh , Rustin S. Levenson , 2000 .

[65]  Joost Elffers,et al.  Hidden images: Games of perception, anamorphic art, illusion : from the Renaissance to the present , 1976 .

[66]  Richard P. Taylor,et al.  Fractal analysis of Pollock's drip paintings , 1999, Nature.

[67]  David G. Stork,et al.  Did Lorenzo Lotto use optical projections while painting “Husband and Wife”? , 2004 .

[68]  Robert Sablatnig,et al.  Identification of drawing tools by classification of textural and boundary features of strokes , 2007, Pattern Recognit. Lett..

[69]  David G. Stork,et al.  Image analysis of paintings by computer graphics synthesis: an investigation of the illumination in Georges de la Tour's Christ in the carpenter's studio , 2008, Electronic Imaging.

[70]  David G. Stork,et al.  Three-dimensional reconstruction from multiple reflected views within a realist painting: an application to Scott Fraser's "Three way vanitas" , 2009, Electronic Imaging.

[71]  Philip Steadman,et al.  Vermeer’s Camera: Uncovering the Truth Behind the Masterpieces , 2001 .

[72]  Mauro Barni,et al.  Image processing for the analysis and conservation of paintings: opportunities and challenges , 2005, IEEE Signal Process. Mag..

[73]  Antonio Criminisi,et al.  Bringing Pictorial Space to Life: computer techniques for the analysis of paintings , 2002 .

[74]  David G. Stork,et al.  Did early Renaissance painters trace optical projections? Evidence pro and con , 2005, IS&T/SPIE Electronic Imaging.

[75]  D.J. Walvoord,et al.  Digital Transcription of the Archimedes Palimpsest [Applications Corner] , 2008, IEEE Signal Processing Magazine.

[76]  A. Wilkins,et al.  Uncomfortable Images in Art and Nature , 2008, Perception.

[77]  David Saunders,et al.  Post-capture data analysis as an aid to the interpretation of ultraviolet-induced fluorescence images , 2008, Electronic Imaging.

[78]  In Situ,et al.  Rejuvenating Seurat’s Palette Using Color and Imaging Science: A Simulation , .

[79]  Daniel J. Graham,et al.  Global nonlinear compression of natural luminances in painted art , 2008, Electronic Imaging.

[80]  David G. Stork,et al.  Computer Image Analysis in the Study of Art , 2008 .

[81]  Robert Sablatnig,et al.  Estimating the original drawing trace of painted strokes , 2008, Electronic Imaging.

[82]  H.H.S. Ip,et al.  In the name of art , 2008, IEEE Signal Processing Magazine.

[83]  V. Cappellini,et al.  Color transplant for reverse ageing of faded artworks , 2008, Electronic Imaging.

[84]  Roger L. Easton,et al.  Multispectral processing of combined visible and x-ray fluorescence imagery in the Archimedes palimpsest , 2008, Electronic Imaging.

[85]  Henry Mendell,et al.  The Archimedes Codex: How a Medieval Prayer Book Is Revealing the True Genius of Antiquity's Greatest Scientist , 2007 .

[86]  David G. Stork,et al.  Revisiting Computer Image Analysis and Art , 2007, IEEE Multim..

[87]  Li Zhang,et al.  Turning images into 3-D models , 2008, IEEE Signal Processing Magazine.

[88]  D. Stork Optics and the old masters revisited , 2004 .

[89]  Xiang Huang,et al.  Deep shadows in a shallow box , 2008, Electronic Imaging.

[90]  F. S. Abas,et al.  Analysis of craquelure patterns for content-based retrieval , 2004 .

[91]  Joachim Denzler,et al.  Fractal-like image statistics in visual art: similarity to natural scenes. , 2007, Spatial vision.

[92]  Eric O. Postma,et al.  Discovering the Visual Signature of Painters , 2000 .

[93]  David G. Stork Mathematical foundations for quantifying shape, shading, and cast shadows in realist master drawings and paintings , 2006, SPIE Optics + Photonics.

[94]  Derek J. Walvoord,et al.  Digital Transcription of the Archimedes Palimpsest , 2008 .

[95]  S. Blair Hedges Image analysis of Renaissance copperplate prints , 2008, Electronic Imaging.

[96]  Kent Mintum Digitally-Enhanced Evidence: MoMA's Reconfiguration of Namuth's Pollock , 2001 .

[97]  Antonio Criminisi,et al.  Accurate Visual Metrology from Single and Multiple Uncalibrated Images , 2001, Distinguished Dissertations.

[98]  J R Mureika,et al.  Multifractal structure in nonrepresentational art. , 2005, Physical review. E, Statistical, nonlinear, and soft matter physics.

[99]  David G. Stork,et al.  Multiple visual features for the computer authentication of Jackson Pollock's drip paintings: beyond box counting and fractals , 2009, Electronic Imaging.

[100]  Roy S. Berns,et al.  An investigation of multispectral imaging for the mapping of pigments in paintings , 2008, Electronic Imaging.

[101]  David G. Stork,et al.  Pattern Classification (2nd ed.) , 1999 .

[102]  Spike L. Bucklow,et al.  A Stylometric Analysis of Craquelure , 1997, Comput. Humanit..

[103]  David G. Stork,et al.  Computer Vision, Image Analysis, and Master Art: Part 2 , 2006, IEEE MultiMedia.

[104]  Hany Farid Reconstructing Ancient Egyptian Tombs , 2000 .

[105]  James Ze Wang,et al.  Studying digital imagery of ancient paintings by mixtures of stochastic models , 2004, IEEE Transactions on Image Processing.

[106]  Thomas Melzer,et al.  Stroke detection of brush strokes in portrait miniatures using a semi-parametric and a model based approach , 1998, Proceedings. Fourteenth International Conference on Pattern Recognition (Cat. No.98EX170).

[107]  Shigeo Abe DrEng Pattern Classification , 2001, Springer London.

[108]  Antonio Criminisi,et al.  Digital Art History: A subject in transition , 2005 .

[109]  David G. Stork,et al.  Estimating the position of illuminants in paintings under weak model assumptions: an application to the works of two Baroque masters , 2009, Electronic Imaging.

[110]  Eric O. Postma,et al.  Computer analysis of Van Gogh's complementary colours , 2007, Pattern Recognit. Lett..

[111]  Fazly Salleh Abas,et al.  Craquelure analysis for content-based retrieval , 2002, 2002 14th International Conference on Digital Signal Processing Proceedings. DSP 2002 (Cat. No.02TH8628).

[112]  Silvio Savarese,et al.  Reflections on praxis and facture in a devotional portrait diptych: a computer analysis of the mirror in Hans Memling's Virgin and Child and Maarten van Nieuwenhove , 2008, Electronic Imaging.

[113]  Jia Li,et al.  Image processing for artist identification , 2008, IEEE Signal Processing Magazine.

[114]  David G. Stork,et al.  Did Georges de la Tour use optical projections while painting Christ in the Carpenter’s Studio? , 2005, IS&T/SPIE Electronic Imaging.

[115]  David G. Stork Did Jan van Eyck build the first photocopier in 1432? , 2003, IS&T/SPIE Electronic Imaging.

[116]  Filippo Sciarrone,et al.  A Methodology For Automating the Classification of Works of Art Using Neural Networks , 2003, Leonardo.

[117]  Henri Maitre,et al.  Application of autoregressive models to fine arts painting analysis , 1987 .

[118]  David G. Stork,et al.  Aberration analysis of the putative projector for Lorenzo Lotto's Husband and wife: image analysis through computer ray-tracing , 2008, Electronic Imaging.

[119]  D. Hockney Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters , 1969 .

[120]  Yang Wang,et al.  Multifractal analysis and authentication of Jackson Pollock paintings , 2008, Electronic Imaging.

[121]  David G. Stork,et al.  Pattern Classification , 1973 .

[122]  Roy L. Bishop Reflections of Reality , 1980 .

[123]  Eric O. Postma,et al.  Authentic: Computerized Brushstroke Analysis , 2005, 2005 IEEE International Conference on Multimedia and Expo.

[124]  Mario Carpo,et al.  Perspective, Projections and Design : Technologies of Architectural Representation , 2008 .

[125]  David G. Stork Computer vision, image analysis, and master art: part 1 , 2006, IEEE MultiMedia.

[126]  David G. Stork,et al.  Asymmetry in Lotto carpets and its implication for Hockney's optical projection theory , 2005, IS&T/SPIE Electronic Imaging.

[127]  Antonio Criminisi,et al.  Computer vision and painter's visions in Italian and Netherlandish art of the fifteenth century , 2006 .

[128]  Robert Sablatnig,et al.  Computer Aided Analysis of Underdrawings in Infrared Reflectograms , 2003, VAST.

[129]  Jose Alvarez-Ramirez,et al.  1/f-Noise structures in Pollocks's drip paintings , 2008 .