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PROCEEDINGS OF SPIE
SPIEDigitalLibrary.org/conference-proceedings-of-spie
Front Matter: Volume 7531
, "Front Matter: Volume 7531," Proc. SPIE 7531, Computer Vision and Image
Analysis of Art, 753101 (11 March 2010); doi: 10.1117/12.858952
Event: IS&T/SPIE Electronic Imaging, 2010, San Jose, California, United
States
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Computer Vision and Image
Analysis of Art
David G. Stork
Jim Coddington
Anna Bentkowska-Kafel
Editors
18–19 January 2010
San Jose, California, United States
Sponsored and Published by
IS&T—The Society for Imaging Science and Technology
SPIE
Volume 7531
Proceedings of SPIE, 0277-786X, v. 7531
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Terms of Use: https://www.spiedigitallibrary.org/terms-of-useThe papers included in this volume were part of the technical conference cited on the cover and title
page. Papers were selected and subject to review by the editors and conference program committee.
Some conference presentations may not be available for publication. The papers published in these
proceedings reflect the work and thoughts of the authors and are published herein as submitted. The
publishers are not responsible for the validity of the information or for any outcomes resulting from
reliance thereon.
Please use the following format to cite material from this book:
Author(s), "Title of Paper," in Computer Vision and Image Analysis of Art, edited by David G. Stork, Jim
Coddington, Anna Bentkowska-Kafel, Proceedings of SPIE-IS&T Electronic Imaging, SPIE Vol. 7531, Article
CID Number (2010).
ISSN 0277-786X
ISBN 9780819479242
Copublished by
SPIE
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Terms of Use: https://www.spiedigitallibrary.org/terms-of-useContents
vii Conference Committee
ix Introduction
SESSION 1 DIGITAL IMAGING AND ART HISTORY
7531 03 Experimental study of canvas characterization for paintings [7531-02]
B. Cornelis, A. Dooms, A. Munteanu, J. Cornelis, P. Schelkens, Vrije Univ. Brussel (Belgium)
7531 05 Inferring Caravaggio's studio lighting and praxis in The calling of St. Matthew by computer
graphics modeling [7531-04]
D. G. Stork, Ricoh Innovations, Inc. (United States); G. Nagy, Sony Computer Entertainment
America Inc. (United States)
SESSION 2 IMAGE RECONSTRUCTION AND 3D IMAGING OF WORKS OF ART
7531 06 Recognizing characters of ancient manuscripts [7531-05]
M. Diem, R. Sablatnig, Vienna Univ. of Technology (Austria)
7531 07 Document reconstruction by layout analysis of snippets [7531-06]
F. Kleber, M. Diem, R. Sablatnig, Vienna Univ. of Technology (Austria)
7531 08 3D acquisition of historical coins and its application area in numismatics [7531-07]
S. Zambanini, Vienna Univ. of Technology (Austria); M. Schlapke, Thüringisches Landesamt
für Archäologische Denkmalpflege (Germany); M. Hödlmoser, M. Kampel, Vienna Univ. of
Technology (Austria)
7531 09 Text recovery from the ultraviolet-fluorescent spectrum for treatises of the Archimedes
Palimpsest [7531-08]
K. Bloechl, Rochester Institute of Technology (United States); H. Hamlin, Pittsford Sutherland
High School (United States); R. L. Easton, Jr., Rochester Institute of Technology (United States)
SESSION 3 DIGITAL IMAGING AND STYLE
7531 0A Digital analysis and restoration of Daguerreotypes [7531-09]
X. Tang, P. A. Ardis, R. Messing, C. M. Brown, R. C. Nelson, Univ. of Rochester (United States);
P. Ravines, R. Wiegandt, George Eastman House (United States)
7531 0B Discovering salient characteristics of authors of artworks [7531-10]
P. Bajcsy, M. Moslemi, National Ctr. for Supercomputing Applications (United States)
7531 0C Stylometrics of artwork: uses and limitations [7531-11]
J. M. Hughes, D. J. Graham, D. N. Rockmore, Dartmouth College (United States)
iii
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Terms of Use: https://www.spiedigitallibrary.org/terms-of-use7531 0D Standardized system for multispectral imaging of palimpsests [7531-12]
R. L. Easton, Jr., Rochester Institute of Technology (United States); K. T. Knox, Air Force
Research Lab. (United States); W. A. Christens-Barry, Equipoise Imaging, LLC (United States);
K. Boydston, Megavision Inc. (United States); M. B. Toth, R. B. Toth Associates (United States);
D. Emery, Emery IT (United States); W. Noel, Walters Art Museum (United States)
7531 0E Advanced image analysis for the preservation of cultural heritage [7531-13]
F. G. France, The Library of Congress (United States); W. Christens-Barry, Equipoise Imaging,
LLC (United States); M. B. Toth, R. B. Toth Associates (United States); K. Boydston, Megavision
Inc. (United States)
SESSION 4 APPLIED ART HISTORY AND IMAGE ANALYSIS
7531 0F Analysis of painting materials on multimodal microscopic level [7531-14]
B. Zitová, M. Beneš, Institute of Information Theory and Automation (Czech Republic);
J. Hradilová, Academy of Fine Arts (Czech Republic); D. Hradil, Institute of Inorganic
Chemistry (Czech Republic)
7531 0G Inferring compositional style in the neo-plastic paintings of Piet Mondrian by machine
learning [7531-15]
D. Andrzejewski, Univ. of Wisconsin-Madison (United States); D. G. Stork, Ricoh Innovations,
Inc. (United States); X. Zhu, Univ. of Wisconsin-Madison (United States); R. Spronk, Queen's
Univ. (Canada)
7531 0J Reflections on Parmigianino's Self portrait in a convex mirror: a computer graphics
reconstruction of the artist's studio [7531-18]
D. G. Stork, Ricoh Innovations, Inc. (United States); Y. Furuichi, Consultant (Japan)
7531 0K Pigment identification based on spectral reflectance reconstructed from RGB images for
cultural heritage investigations [7531-19]
J. A. Toque, Y. Murayama, A. Ide-Ektessabi, Kyoto Univ. (Japan)
SESSION 5 INTERACTIVE PAPER SESSION
7531 0L Integration of high-resolution spatial and spectral data acquisition systems to provide
complementary datasets for cultural heritage applications [7531-20]
C. Simon, Univ. de Bourgogne (France) and Mainz Univ. of Applied Sciences (Germany);
U. Huxhagen, Mainz Univ. of Applied Sciences (Germany); A. Mansouri, Univ. de Bourgogne
(France); A. Heritage, Cologne Univ. of Applied Sciences (Germany); F. Boochs, Mainz Univ.
of Applied Sciences (Germany); F. S. Marzani, Univ. de Bourgogne (France)
7531 0M Color signatures in Amorsolo paintings [7531-22]
M. N. Soriano, C. M. Palomero, Univ. of the Philippines (Philippines); L. Cruz, National
Historical Institute (Philippines); C. M. K. Yambao, J. M. Dado, J. M. Salvador-Campaner,
Univ. of the Philippines (Philippines)
7531 0N Analytical imaging of cultural heritage paintings using digitally archived images [7531-23]
J. A. Toque, Y. Sakatoku, A. Ide-Ektessabi, Kyoto Univ. (Japan)
iv
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Terms of Use: https://www.spiedigitallibrary.org/terms-of-use7531 0O Multifractal comparison of the painting techniques of adults and children [7531-24]
J. R. Mureika, Loyola Marymount Univ. (United States); M. S. Fairbanks, R. P. Taylor, Univ. of
Oregon (United States)
Author Index
v
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Conference Committee
Symposium Chair
Jan P. Allebach, Purdue University (United States)
Symposium Cochair
Sabine Süsstrunk, Ecole Polytechnique Fédérale de Lausanne
(Switzerland)
Conference Chairs
David G. Stork, Ricoh Innovations, Inc. (United States)
Jim Coddington, Museum of Modern Art (United States)
Anna Bentkowska-Kafel, King's College London (United Kingdom)
Program Committee
Ingrid Daubechies, Princeton University (United States)
Charles R. Dyer, University of Wisconsin-Madison (United States)
Roger L. Easton, Jr., Rochester Institute of Technology (United States)
Daniel J. Graham, Dartmouth College (United States)
Shannon Hughes, Princeton University (United States)
Mohammad Tanvir Irfan, Stony Brook University (United States)
Siwei Lyu, University at Albany (United States)
Daniel N. Rockmore, Dartmouth College (United States)
Robert Sablatnig, Technische Universität Wien (Austria)
Session Chairs
1 Digital Imaging and Art History
Jim Coddington, Museum of Modern Art (United States)
2 Image Reconstruction and 3D Imaging of Works of Art
David G. Stork, Ricoh Innovations, Inc. (United States)
3 Digital Imaging and Style
Anna Bentkowska-Kafel, King's College London (United Kingdom)
4 Applied Art History and Image Analysis
Jim Coddington, Museum of Modern Art (United States)
vii
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Introduction
The technical conference Computer Vision and Image Analysis of Art was part of
the IS&T/SPIE Electronic Imaging symposium, held at the San Jose Convention
Center in California between January, 17th and 21st, 2010. The papers,
demonstrations and posters presented at this larger symposium reflected the
state of the art in three-dimensional visualization and multimedia, stereoscopic
displays, computational photography, smart phone applications and much
more. The future of image analysis applied to the visual arts should be considered
in this wider context.
Computer methods have supported art analysis, interpretation, education and
dissemination for over a quarter century. A number of collaborative projects
carried out in the 1980s involved joint expertise of computer scientists and art
historians; for instance the pioneering work enhancing visualization of space in
Piero della Francesca’s paintings, led by Marilyn Aronberg Lavin; the IBM UK
Scientific Centre work on Winchester Solid Modeller (WINSOM) for heritage
visualization; and the Morelli content-based retrieval system for images, devised
by William Vaughan and implemented in collection databases in the 1980s,
subsequently incorporated into the VAN EYCK project (Visual Arts Network for
Exchange of Cultural Knowledge). Projects of this kind paved the way for
advanced techniques such as those presented in this volume.
Yet a different thread is computer-aided generation of art, such as Harold
Cohen’s early work on the Aaron automated drawing program and A. Michael
Noll’s computer generation of “faux” Mondrians. All of these shed light on
compositional principles in the visual arts.
While documentation and visualization in support of curatorial efforts continues, in
the last few years there has been an additional emphasis of computer
researchers addressing problems in art: This newer work eschews its traditional
supporting role for technical art history, and looks to the computer as an aid to
analysis, to help make some of the decisions about an artwork. Thus, algorithms
developed for forensic photography analysis now reveal subtleties in lighting
within painted tableaux. These new algorithms employ subtle statistical analyses
of brush strokes or dripped paint for authentication studies. Sophisticated optical
ray-tracing analysis software applied to artists’ studios reveals whether or not such
artists used optical devices. One of the benefits of these approaches is that they
can be shared and scrutinized openly by a broad community of scholars.
ix
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Terms of Use: https://www.spiedigitallibrary.org/terms-of-useSuch points were stressed in the keynote address delivered by David M. Stone,
Professor of Art History at the University of Delaware. He set a theme for the
conference by proposing a new, computer-aided approach to connoisseurship.
He spoke as if following the footsteps of eighteenth-century authors “on behalf of
the science of a connoisseur” (Jonathan Richardson, 1717). This approach
prioritizes visual evidence and focuses on formal features of art, rather than
meaning, expression, personality or imagination, all of which are difficult to
rationalize. Stone spoke of two nineteenth-century champions of connoisseurship,
Giovanni Morelli (Italian Painters, 1890s) and Bernard Berenson (The Rudiments of
Connoisseurship, 1894). Morelli’s method for identifying the work of individual
hands was based on the comparative analysis of ears, eyes and other
anatomical features of the depicted sitters. Berenson, who defined
connoisseurship broadly as “the comparison of works of art with a view to
determining their reciprocal relationship,” developed a theory based on Morelli’s
approach. A number of papers included in this volume are concerned with
digital methods for identification, authentication and attribution of an artwork (its
technique, materials and composition) to artist, place or period. Some of these
methods may be seen as a development stemming from a Morellian belief that
characteristics of an individual artistic style can be separated from means of
expression and therefore formalized, quantified and verified. The name given to
the above-mentioned early pattern recognition system for computerized
matching of art images was not accidental.
A reaction against the idea of connoisseurship as an academic pursuit, partly
caused by Berenson himself, led to its long-term dormancy. In recent decades
mainstream art historians have generally rejected formalist perspectives and
have lost interest in the object in favor of iconography, social history, semiotics,
psychoanalysis and other more theoretical approaches. Attribution and
authentication have nonetheless remained a critical part of any scientific
examination of art, especially in a museum context, and are paramount in art
documentation, restoration and valuation. Technical art history, or heritage
science, has emerged as a modern discipline that bridges traditional practical
skills and scholarship with the latest developments in digital technologies.
Electronic imaging, in particular, is proving invaluable in art analysis. This
collection of papers presents case studies in application of laser- and structured-
light scanning, x-rays, multimodal microscopy, spectral analysis and other
techniques that allow for a better understanding of artifacts.
If computer science is to continue to support art analysis, we must ensure that the
insights gained benefit both disciplines. This can only happen if and when
research questions are formulated through dialogue and collaboration. Parallels
x
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and connoisseurship. We now need to connect a modern connoisseurship—one
that makes full use of computer methods—to art history, and connect art history
to the object. A virtual artifact may become a vehicle for mediating this process
within the ever more popular collaborative virtual research environment (VRE),
though computer methods and digital media can never, and will never, replace
close reading of actual art works.
While the authors are grateful for the opportunity to present their research and
have the papers published, we hope these proceedings will stimulate discussion
and new collaborations between scholars in computer science and the arts.
We editors would like to thank all the contributors, reviewers, attendees, and the
staff of IS&T/SPIE for making the conference a success, and we are especially
glad that IS&T/SPIE recognize the value of the interdisciplinary research that
appears in this volume.
David G. Stork
Jim Coddington
Anna Bentkowska-Kafel
xi
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