'Leave it or take it away': ethical considerations on the removal of overpainting: the case of the Ghent Altarpiece

During the current conservation of the Ghent Altarpiece, carried out by a team of KIK-IRPA, a large amount of old overpaint has been discovered. These are studied with a number of innovative analytical techniques. It is argued here that the introduction of these techniques allows for a re-evaluation of the conservation theoretical and ethical dimensions of coping with such phenomena

Staging the Scene: Bart Ramakers’ exuberant dialogue with artistic heritage

Historical context of the genre of staged photography as performed by Belgian contemporary photographer Bart Ramaker

Some observations on Gustave van de Woestyne's working routine

IRR-examination of a selection of paintings by Gustave van de Woestyne, revealing the evolution in his underdrawing style

Uncovering elements of style

This paper relates the style of 16th century Flemish paintings by Goossen van der Weyden (GvdW) to the style of preliminary sketches or underpaintings made prior to executing the painting. Van der Weyden made underpaintings in markedly different styles for reasons as yet not understood by art historians. The analysis presented here starts from a classification of the underpaintings into four distinct styles by experts in art history. Analysis of the painted surfaces by a combination of wavelet analysis, hidden Markov trees and boosting algorithms can distinguish the four underpainting styles with greater than 90% cross-validation accuracy. On a subsequent blind test this classifier provided insight into the hypothesis by art historians that different patches of the finished painting were executed by different hands

Assisting classical paintings restoration : efficient paint loss detection and descriptor-based inpainting using shared pretraining

In the restoration process of classical paintings, one of the tasks is to map paint loss for documentation and analysing purposes. Because this is such a sizable and tedious job automatic techniques are highly on demand. The currently available tools allow only rough mapping of the paint loss areas while still requiring considerable manual work. We develop here a learning method for paint loss detection that makes use of multimodal image acquisitions and we apply it within the current restoration of the Ghent Altarpiece. Our neural network architecture is inspired by a multiscale convolutional neural network known as U-Net. In our proposed model, the downsampling of the pooling layers is omitted to enforce translation invariance and the convolutional layers are replaced with dilated convolutions. The dilated convolutions lead to denser computations and improved classification accuracy. Moreover, the proposed method is designed such to make use of multimodal data, which are nowadays routinely acquired during the restoration of master paintings, and which allow more accurate detection of features of interest, including paint losses. Our focus is on developing a robust approach with minimal user-interference. Adequate transfer learning is here crucial in order to extend the applicability of pre-trained models to the paintings that were not included in the training set, with only modest additional re-training. We introduce a pre-training strategy based on a multimodal, convolutional autoencoder and we fine-tune the model when applying it to other paintings. We evaluate the results by comparing the detected paint loss maps to manual expert annotations and also by running virtual inpainting based on the detected paint losses and comparing the virtually inpainted results with the actual physical restorations. The results indicate clearly the efficacy of the proposed method and its potential to assist in the art conservation and restoration processes