Abstract
The hands and mind of an artist are intimately involved in the creative process of image formation, intrinsically making paintings significantly more complex than photographs to analyze. In spite of this difficulty, several years ago the artist David Hockney and I identified optical evidence within a number of paintings that demonstrated artists began using optical projections as early as c1425-nearly 175 years before Galileo-as aids for producing portions of their images. In the course of our work, Hockney and I developed insights that I have been applying to a new approach to computerized image analysis. Recently I developed and characterized a portable high resolution infrared for capturing additional information from paintings. Because many pigments are semi-transparent in the IR, in a number of cases IR photographs ("reflectograms") have revealed marks made by the artists that had been hidden under paint ever since they were made. I have used this IR camera to capture photographs ("reflectograms") of hundreds of paintings in over a dozen museums on three continents and, in some cases, these reflectograms have provided new insights into decisions the artists made in creating the final images that we see in the visible.
| Original language | English (US) |
|---|---|
| Title of host publication | Proceedings of SPIE - The International Society for Optical Engineering |
| Volume | 7782 |
| DOIs | |
| State | Published - 2010 |
| Event | The Nature of Light: Light in Nature III - San Diego, CA, United States Duration: Aug 2 2010 → Aug 2 2010 |
Other
| Other | The Nature of Light: Light in Nature III |
|---|---|
| Country | United States |
| City | San Diego, CA |
| Period | 8/2/10 → 8/2/10 |
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Keywords
- David Hockney
- Image analysis
- Infrared reflectography
- Renaissance paintings
ASJC Scopus subject areas
- Applied Mathematics
- Computer Science Applications
- Electrical and Electronic Engineering
- Electronic, Optical and Magnetic Materials
- Condensed Matter Physics
Cite this
High-resolution infrared imaging. / Falco, Charles M.
Proceedings of SPIE - The International Society for Optical Engineering. Vol. 7782 2010. 778206.Research output: Chapter in Book/Report/Conference proceeding › Conference contribution
}
TY - GEN
T1 - High-resolution infrared imaging
AU - Falco, Charles M
PY - 2010
Y1 - 2010
N2 - The hands and mind of an artist are intimately involved in the creative process of image formation, intrinsically making paintings significantly more complex than photographs to analyze. In spite of this difficulty, several years ago the artist David Hockney and I identified optical evidence within a number of paintings that demonstrated artists began using optical projections as early as c1425-nearly 175 years before Galileo-as aids for producing portions of their images. In the course of our work, Hockney and I developed insights that I have been applying to a new approach to computerized image analysis. Recently I developed and characterized a portable high resolution infrared for capturing additional information from paintings. Because many pigments are semi-transparent in the IR, in a number of cases IR photographs ("reflectograms") have revealed marks made by the artists that had been hidden under paint ever since they were made. I have used this IR camera to capture photographs ("reflectograms") of hundreds of paintings in over a dozen museums on three continents and, in some cases, these reflectograms have provided new insights into decisions the artists made in creating the final images that we see in the visible.
AB - The hands and mind of an artist are intimately involved in the creative process of image formation, intrinsically making paintings significantly more complex than photographs to analyze. In spite of this difficulty, several years ago the artist David Hockney and I identified optical evidence within a number of paintings that demonstrated artists began using optical projections as early as c1425-nearly 175 years before Galileo-as aids for producing portions of their images. In the course of our work, Hockney and I developed insights that I have been applying to a new approach to computerized image analysis. Recently I developed and characterized a portable high resolution infrared for capturing additional information from paintings. Because many pigments are semi-transparent in the IR, in a number of cases IR photographs ("reflectograms") have revealed marks made by the artists that had been hidden under paint ever since they were made. I have used this IR camera to capture photographs ("reflectograms") of hundreds of paintings in over a dozen museums on three continents and, in some cases, these reflectograms have provided new insights into decisions the artists made in creating the final images that we see in the visible.
KW - David Hockney
KW - Image analysis
KW - Infrared reflectography
KW - Renaissance paintings
UR - http://www.scopus.com/inward/record.url?scp=78649979278&partnerID=8YFLogxK
UR - http://www.scopus.com/inward/citedby.url?scp=78649979278&partnerID=8YFLogxK
U2 - 10.1117/12.863575
DO - 10.1117/12.863575
M3 - Conference contribution
AN - SCOPUS:78649979278
SN - 9780819482785
VL - 7782
BT - Proceedings of SPIE - The International Society for Optical Engineering
ER -