Quantitative analysis of qualitative images

Research output: Chapter in Book/Report/Conference proceedingConference contribution

Abstract

Recently, renowned artist David Hockney observed that certain drawings and paintings from as early as the Renaissance seemed almost " photographic" in detail.[1] Following an extensive visual investigation of western art of the past 1000 years, he made the revolutionary claim that artists even of the prominence of van Eyck and Bellini must have used optical aids. However, many art historians insisted there was no supporting evidence for such a remarkable assertion. In this talk I will show a range of optical evidence for his claim that Hockney and I subsequently discovered during an unusual, and remarkably-productive, collaboration between an artist and a scientist.[2,3] These discoveries convincingly demonstrate optical instruments were in use - by artists, not scientists - nearly 200 years earlier than previously even thought possible, and account for the remarkable transformation in the reality of portraits that occurred early in the 15th century. As the examples in my talk will show, paintings are much more complex than if projected images simply had been traced. The new image analysis insights Hockney and I developed in our collaboration enabled us to overcome this complexity, allowing us to extract information that had eluded generations of scholars. [4] Because of this, these discoveries have significant implications for the fields of machine vision and computerized image analysis as well as for the histories of art and science.

Original languageEnglish (US)
Title of host publicationProceedings of the Digital Imaging Computing: Techniques and Applications, DICTA 2005
Pages437
Number of pages1
Volume2005
DOIs
StatePublished - 2005
EventDigital Imaging Computing: Techniques and Applications, DICTA 2005 - Cairns, Australia
Duration: Dec 6 2005Dec 8 2005

Other

OtherDigital Imaging Computing: Techniques and Applications, DICTA 2005
CountryAustralia
CityCairns
Period12/6/0512/8/05

Fingerprint

Painting
Image analysis
Optical instruments
Chemical analysis
Computer vision

ASJC Scopus subject areas

  • Engineering(all)

Cite this

Falco, C. M. (2005). Quantitative analysis of qualitative images. In Proceedings of the Digital Imaging Computing: Techniques and Applications, DICTA 2005 (Vol. 2005, pp. 437). [1578161] https://doi.org/10.1109/DICTA.2005.1578161

Quantitative analysis of qualitative images. / Falco, Charles M.

Proceedings of the Digital Imaging Computing: Techniques and Applications, DICTA 2005. Vol. 2005 2005. p. 437 1578161.

Research output: Chapter in Book/Report/Conference proceedingConference contribution

Falco, CM 2005, Quantitative analysis of qualitative images. in Proceedings of the Digital Imaging Computing: Techniques and Applications, DICTA 2005. vol. 2005, 1578161, pp. 437, Digital Imaging Computing: Techniques and Applications, DICTA 2005, Cairns, Australia, 12/6/05. https://doi.org/10.1109/DICTA.2005.1578161
Falco CM. Quantitative analysis of qualitative images. In Proceedings of the Digital Imaging Computing: Techniques and Applications, DICTA 2005. Vol. 2005. 2005. p. 437. 1578161 https://doi.org/10.1109/DICTA.2005.1578161
Falco, Charles M. / Quantitative analysis of qualitative images. Proceedings of the Digital Imaging Computing: Techniques and Applications, DICTA 2005. Vol. 2005 2005. pp. 437
@inproceedings{61582ba5054043d1918935092998b923,
title = "Quantitative analysis of qualitative images",
abstract = "Recently, renowned artist David Hockney observed that certain drawings and paintings from as early as the Renaissance seemed almost {"} photographic{"} in detail.[1] Following an extensive visual investigation of western art of the past 1000 years, he made the revolutionary claim that artists even of the prominence of van Eyck and Bellini must have used optical aids. However, many art historians insisted there was no supporting evidence for such a remarkable assertion. In this talk I will show a range of optical evidence for his claim that Hockney and I subsequently discovered during an unusual, and remarkably-productive, collaboration between an artist and a scientist.[2,3] These discoveries convincingly demonstrate optical instruments were in use - by artists, not scientists - nearly 200 years earlier than previously even thought possible, and account for the remarkable transformation in the reality of portraits that occurred early in the 15th century. As the examples in my talk will show, paintings are much more complex than if projected images simply had been traced. The new image analysis insights Hockney and I developed in our collaboration enabled us to overcome this complexity, allowing us to extract information that had eluded generations of scholars. [4] Because of this, these discoveries have significant implications for the fields of machine vision and computerized image analysis as well as for the histories of art and science.",
author = "Falco, {Charles M}",
year = "2005",
doi = "10.1109/DICTA.2005.1578161",
language = "English (US)",
isbn = "0769524672",
volume = "2005",
pages = "437",
booktitle = "Proceedings of the Digital Imaging Computing: Techniques and Applications, DICTA 2005",

}

TY - GEN

T1 - Quantitative analysis of qualitative images

AU - Falco, Charles M

PY - 2005

Y1 - 2005

N2 - Recently, renowned artist David Hockney observed that certain drawings and paintings from as early as the Renaissance seemed almost " photographic" in detail.[1] Following an extensive visual investigation of western art of the past 1000 years, he made the revolutionary claim that artists even of the prominence of van Eyck and Bellini must have used optical aids. However, many art historians insisted there was no supporting evidence for such a remarkable assertion. In this talk I will show a range of optical evidence for his claim that Hockney and I subsequently discovered during an unusual, and remarkably-productive, collaboration between an artist and a scientist.[2,3] These discoveries convincingly demonstrate optical instruments were in use - by artists, not scientists - nearly 200 years earlier than previously even thought possible, and account for the remarkable transformation in the reality of portraits that occurred early in the 15th century. As the examples in my talk will show, paintings are much more complex than if projected images simply had been traced. The new image analysis insights Hockney and I developed in our collaboration enabled us to overcome this complexity, allowing us to extract information that had eluded generations of scholars. [4] Because of this, these discoveries have significant implications for the fields of machine vision and computerized image analysis as well as for the histories of art and science.

AB - Recently, renowned artist David Hockney observed that certain drawings and paintings from as early as the Renaissance seemed almost " photographic" in detail.[1] Following an extensive visual investigation of western art of the past 1000 years, he made the revolutionary claim that artists even of the prominence of van Eyck and Bellini must have used optical aids. However, many art historians insisted there was no supporting evidence for such a remarkable assertion. In this talk I will show a range of optical evidence for his claim that Hockney and I subsequently discovered during an unusual, and remarkably-productive, collaboration between an artist and a scientist.[2,3] These discoveries convincingly demonstrate optical instruments were in use - by artists, not scientists - nearly 200 years earlier than previously even thought possible, and account for the remarkable transformation in the reality of portraits that occurred early in the 15th century. As the examples in my talk will show, paintings are much more complex than if projected images simply had been traced. The new image analysis insights Hockney and I developed in our collaboration enabled us to overcome this complexity, allowing us to extract information that had eluded generations of scholars. [4] Because of this, these discoveries have significant implications for the fields of machine vision and computerized image analysis as well as for the histories of art and science.

UR - http://www.scopus.com/inward/record.url?scp=33846972279&partnerID=8YFLogxK

UR - http://www.scopus.com/inward/citedby.url?scp=33846972279&partnerID=8YFLogxK

U2 - 10.1109/DICTA.2005.1578161

DO - 10.1109/DICTA.2005.1578161

M3 - Conference contribution

AN - SCOPUS:33846972279

SN - 0769524672

SN - 9780769524672

VL - 2005

SP - 437

BT - Proceedings of the Digital Imaging Computing: Techniques and Applications, DICTA 2005

ER -