Detection of forgery in paintings using supervised learning

This paper examines whether machine learning and image analysis tools can be used to assist art experts in the authentication of un-known or disputed paintings. Recent work on this topic [1] has pre-sented some promising initial results. Our reexamination of some of these recently successful experiments shows that variations in image clarity in the experimental datasets were correlated with authenticity, and may have acted as a confounding factor, artificially improving the results. To determine the extent of this factor’s influence on pre-vious results, we provide a new “ground truth ” data set in which originals and copies are known and image acquisition conditions are uniform. Multiple previously-successful methods are found ineffec-tive on this new confounding-factor-free dataset, but we demonstrate that supervised machine learning on features derived from Hidden-Markov-Tree-modeling of the paintings ’ wavelet coefficients has the potential to distinguish copies from originals in the new dataset

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

Painting Analysis Using Wavelets and Probabilistic Topic Models

In this paper, computer-based techniques for stylistic analysis of paintings are applied to the five panels of the 14th century Peruzzi Altarpiece by Giotto di Bondone. Features are extracted by combining a dual-tree complex wavelet transform with a hidden Markov tree (HMT) model. Hierarchical clustering is used to identify stylistic keywords in image patches, and keyword frequencies are calculated for sub-images that each contains many patches. A generative hierarchical Bayesian model learns stylistic patterns of keywords; these patterns are then used to characterize the styles of the sub-images; this in turn, permits to discriminate between paintings. Results suggest that such unsupervised probabilistic topic models can be useful to distill characteristic elements of style.Comment: 5 pages, 4 figures, ICIP 201

Craquelure as a Graph: Application of Image Processing and Graph Neural Networks to the Description of Fracture Patterns

Cracks on a painting is not a defect but an inimitable signature of an artwork which can be used for origin examination, aging monitoring, damage identification, and even forgery detection. This work presents the development of a new methodology and corresponding toolbox for the extraction and characterization of information from an image of a craquelure pattern. The proposed approach processes craquelure network as a graph. The graph representation captures the network structure via mutual organization of junctions and fractures. Furthermore, it is invariant to any geometrical distortions. At the same time, our tool extracts the properties of each node and edge individually, which allows to characterize the pattern statistically. We illustrate benefits from the graph representation and statistical features individually using novel Graph Neural Network and hand-crafted descriptors correspondingly. However, we also show that the best performance is achieved when both techniques are merged into one framework. We perform experiments on the dataset for paintings' origin classification and demonstrate that our approach outperforms existing techniques by a large margin.Comment: Published in ICCV 2019 Workshop

Picasso, Matisse, or a Fake? Automated Analysis of Drawings at the Stroke Level for Attribution and Authentication

This paper proposes a computational approach for analysis of strokes in line drawings by artists. We aim at developing an AI methodology that facilitates attribution of drawings of unknown authors in a way that is not easy to be deceived by forged art. The methodology used is based on quantifying the characteristics of individual strokes in drawings. We propose a novel algorithm for segmenting individual strokes. We designed and compared different hand-crafted and learned features for the task of quantifying stroke characteristics. We also propose and compare different classification methods at the drawing level. We experimented with a dataset of 300 digitized drawings with over 80 thousands strokes. The collection mainly consisted of drawings of Pablo Picasso, Henry Matisse, and Egon Schiele, besides a small number of representative works of other artists. The experiments shows that the proposed methodology can classify individual strokes with accuracy 70%-90%, and aggregate over drawings with accuracy above 80%, while being robust to be deceived by fakes (with accuracy 100% for detecting fakes in most settings)

Seeing Behind the Camera: Identifying the Authorship of a Photograph

We introduce the novel problem of identifying the photographer behind a photograph. To explore the feasibility of current computer vision techniques to address this problem, we created a new dataset of over 180,000 images taken by 41 well-known photographers. Using this dataset, we examined the effectiveness of a variety of features (low and high-level, including CNN features) at identifying the photographer. We also trained a new deep convolutional neural network for this task. Our results show that high-level features greatly outperform low-level features. We provide qualitative results using these learned models that give insight into our method's ability to distinguish between photographers, and allow us to draw interesting conclusions about what specific photographers shoot. We also demonstrate two applications of our method.Comment: Dataset downloadable at http://www.cs.pitt.edu/~chris/photographer To Appear in CVPR 201

Hyperspectral imaging combined with data classification techniques as an aid for artwork authentication

In recent years various scientific practices have been adapted to the artwork analysis process. Although a set of techniques is available for art historians and scientists, there is a constant need for rapid and non-destructive methods to empower the art authentication process. In this paper hyperspectral imaging combined with signal processing and classification techniques are proposed as a tool to enhance the process for identification of art forgeries. Using bespoke paintings designed for this work, a spectral library of selected pigments was established and the viability of training and the application of classification techniques based on this data was demonstrated. Using these techniques for the analysis of actual forged paintings resulted in the identification of anachronistic paint, confirming the falsity of the artwork. This paper demonstrates the applicability of infrared (IR) hyperspectral imaging for artwork authentication