Posted on 07/25/2023 2:47:44 PM PDT by nickcarraway
Earlier this year, a 40-year debate over a painting known as the de Brécy Tondo was settled thanks to artificial intelligence–based facial recognition software, with the painting now considered to have likely been the famed Renaissance artist Raphael. Now, that painting has gone on public display for the first time at the Cartwright Hall Art Gallery in Bradford, England.
For years, the de Brécy Tondo was assumed to be a copy of a work by Raphael made in the Victorian era, in large part because of its resemblance to his Sistine Madonna altarpiece.
Hassan Ugail, a professor at the University of Bradford and the director of the university’s center of visual computing, developed an artificial intelligence model that could identify paintings by Old Masters and recently said he was sure the tondo was by Raphael.
“My AI models look far deeper into a picture than the human eye, comparing details such as the brush strokes and pigments. Testing the Tondo using this new AI model has shown startling results, confirming it is most likely by Raphael,” Ugail told the Guardian.
Ugail’s modern methods are bolstered by the opinion of academics who studied the painting, including one of his colleagues at the University of Bradford, Howell Edwards, a molecular spectroscopy expert who found the pigments used in de Brécy Tondo firmly placed the work in the Renaissance period.
“Together with my previous work using facial recognition and combined with previous research by my fellow academics, we have concluded the Tondo and the Sistine Madonna are undoubtedly by the same artist,” Ugail told the Guardian.
Ugail says his program, in tandem with human expertise, could lead to “easier authentication” of artworks and “greater transparency.”
Ping
The uncreative, unimaginative losers will be foisting their unearned AI plagiarism on society at the expense of true human creativity.
FUAI
It was Raphael who got Michelangelo the job painting the ceiling of the Sistine chapel. Michelangelo had no social skills to speak of but the younger Raphael was a world-class schmoozer right out of the gate. He put the bug in Pope Julius II's ear that Michelangelo would be just the man for the job. But he wasn't doing the sculptor and favors, he knew Michelangelo had never painted so much as a picket fence before, much less a major work of art, and he was betting that the would fall flat on his keester.
The outcome reminds me of that scene from "Quigley Down Under," Quigley, referring to a six-shooter, "I said I didn't have much use for one. Didn't say I didn't know how to use it." Michelangelo turned out to be a fair hand with a paint brush, but he preferred to find the statues hiding inside raw blocks of marble to paint and canvas.
As a teen, Michelangelo was sent to live and study in the home of Lorenzo de’ Medici, then one of the most important art patrons in all of Europe. His steady hand with a chisel and paintbrush soon made him the envy of all his fellow pupils. One young rival named Pietro Torrigiano grew so enraged at Michelangelo’s superior talent—and perhaps also his sharp tongue—that he walloped him in the nose, leaving it permanently smashed and disfigured. “I gave him such a blow on the nose that I felt bone and cartilage go down like biscuit beneath my knuckles,” Torrigiano later bragged, “and this mark of mine he will carry with him to the grave.”
Interesting article, thanks.
This topic was posted , thanks nickcarraway.
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