SIRIS: a high resolution scanning infrared camera for examining paintings

The new SIRIS (Scanning InfraRed Imaging System) camera developed at the National Gallery in London allows highresolution images of paintings to be made in the near infrared region (900–1700 nm). Images of 5000 × 5000 pixels are made by moving a 320 × 256 pixel InGaAs array across the focal plane of the camera using two orthogonal translation stages. The great advantages of this camera over scanning infrared devices are its relative portability and that image acquisition is comparatively rapid – a full 5000 × 5000 pixel image can be made in around 20 minutes. The paper describes the development of the mechanical, optical and electronic components of the camera, including the design of a new lens. The software routines used to control image capture and to assemble the individual 320 × 256 pixel frames into a seamless mosaic image are also mentioned. The optics of the SIRIS camera have been designed so that the camera can operate at a range of resolutions; from around 2.5 pixels per millimetre on large paintings of up to 2000 × 2000 mm to 10 pixels per millimetre on smaller paintings or details of paintings measuring 500 × 500 mm. The camera is primarily designed to examine underdrawings in paintings; preliminary results from test targets and paintings are presented and the quality of the images compared with those from other cameras currently used in this field

A new camera for high-resolution infrared imaging of works of art

A new camera – SIRIS (scanning infrared imaging system) – developed at the National Gallery in London allows high-resolution images to be made in the near infrared region (900–1700 nm). The camera is based on a commercially available 320 × 256 pixel indium gallium arsenide area array sensor. This relatively small sensor is moved across the focal plane of the camera using two orthogonal translation stages to give images of c. 5000 × 5000 pixels. The main advantages of the SIRIS camera over scanning infrared devices or sequential image capture and mosaic assembly are its comparative portability and rapid image acquisition – making a 5000 × 5000 pixel image takes less than 20 minutes. The SIRIS camera can operate at a range of resolutions; from around 2.5 pixels per millimetre over an area of up to 2 × 2 m to 10 pixels per millimetre when examining an area measuring 0.5 × 0.5 m. The development of the mechanical, optical and electronic components of the camera, including the design of a new lens, is described. The software used to control image capture and to assemble the individual frames into a seamless mosaic image is mentioned. The camera was designed primarily to examine underdrawings in paintings; preliminary results from test targets and paintings imaged in situ are presented and the quality of the images compared with those from other cameras currently used for this application

Turbulent luminance in impassioned van Gogh paintings

We show that the patterns of luminance in some impassioned van Gogh paintings display the mathematical structure of fluid turbulence. Specifically, we show that the probability distribution function (PDF) of luminance fluctuations of points (pixels) separated by a distance R compares notably well with the PDF of the velocity differences in a turbulent flow, as predicted by the statistical theory of A.N. Kolmogorov. We observe that turbulent paintings of van Gogh belong to his last period, during which episodes of prolonged psychotic agitation of this artist were frequent. Our approach suggests new tools that open the possibility of quantitative objective research for art representation

Macroscale multimodal imaging reveals ancient painting production technology and the vogue in Greco-Roman Egypt.

Macroscale multimodal chemical imaging combining hyperspectral diffuse reflectance (400-2500 nm), luminescence (400-1000 nm), and X-ray fluorescence (XRF, 2 to 25 keV) data, is uniquely equipped for noninvasive characterization of heterogeneous complex systems such as paintings. Here we present the first application of multimodal chemical imaging to analyze the production technology of an 1,800-year-old painting and one of the oldest surviving encaustic ("burned in") paintings in the world. Co-registration of the data cubes from these three hyperspectral imaging modalities enabled the comparison of reflectance, luminescence, and XRF spectra at each pixel in the image for the entire painting. By comparing the molecular and elemental spectral signatures at each pixel, this fusion of the data allowed for a more thorough identification and mapping of the painting's constituent organic and inorganic materials, revealing key information on the selection of raw materials, production sequence and the fashion aesthetics and chemical arts practiced in Egypt in the second century AD

Painting and Language: A Pictoral Syntax of Shapes

In previous articles, the author proposed that paintings can have syntactic rules. In this article he develops his proposal further and shows that shapes act as syntactic elements in the languages of painting styles. He meets Nelson Goodman\u27s objections to his proposal by showing that shapes meet the criterion of syntactic discreteness proposed by the latter to separate linguistic from other symbolic systems. His approach is to specify style as the domain of a language of painting, to show that style is syntactical and to argue that shapes are the primitive syntactic elements of style. His essay relates current research on the development of syntax for picture-reading machines to the question of syntax for paintings

Modeling On-Line Art Auction Dynamics Using Functional Data Analysis

In this paper, we examine the price dynamics of on-line art auctions of modern Indian art using functional data analysis. The purpose here is not just to understand what determines the final prices of art objects, but also the price movement during the entire auction. We identify several factors, such as artist characteristics (established or emerging artist; prior sales history), art characteristics (size; painting medium--canvas or paper), competition characteristics (current number of bidders; current number of bids) and auction design characteristics (opening bid; position of the lot in the auction), that explain the dynamics of price movement in an on-line art auction. We find that the effects on price vary over the duration of the auction, with some of these effects being stronger at the beginning of the auction (such as the opening bid and historical prices realized). In some cases, the rate of change in prices (velocity) increases at the end of the auction (for canvas paintings and paintings by established artists). Our analysis suggests that the opening bid is positively related to on-line auction price levels of art at the beginning of the auction, but its effect declines toward the end of the auction. The order in which the lots appear in an art auction is negatively related to the current price level, with this relationship decreasing toward the end of the auction. This implies that lots that appear earlier have higher current prices during the early part of the auction, but that effect diminishes by the end of the auction. Established artists show a positive relationship with the price level at the beginning of the auction. Reputation or popularity of the artists and their investment potential as assessed by previous history of sales are positively related to the price levels at the beginning of the auction. The medium (canvas or paper) of the painting does not show any relationship with art auction price levels, but the size of the painting is negatively related to the current price during the early part of the auction. Important implications for auction design are drawn from the analysis.Comment: Published at http://dx.doi.org/10.1214/088342306000000196 in the Statistical Science (http://www.imstat.org/sts/) by the Institute of Mathematical Statistics (http://www.imstat.org

Digital archiving of manuscripts and other heritage items for conservation and information retrieval

Expression of cultural heritage looking from the informatics angle falls into text, images, video and sound categories. ICT can be used to conserve all these heritage items like; the text information consisting of palm leaf manuscripts, stone tablets, handwritten paper documents, old printed records, books, microfilms, fiche etc, images including paintings, drawings, photographs and the like, sound items which includes musical concerts, poetry recitations, chanting of mantras, talks of important persons etc, and video items like archival films historical importance. To retrieve required information from such a large mass of materials in different formats and to transmit them across space and time, there are several limitations. Digital technology allows hitherto unavailable facilities for durable storage and speedy and efficient transmission / retrieval of information contained in all the above formats. Hypertext and hypermedia features of digital media enable integrating text with graphics, sound, video and animation. This paper discusses the international and national efforts for digitizing heritage items, digital archiving solutions available, the possibilities of the media, and the need to follow standards prescribed by organizations like UNESCO to enable easy exchange and pooling of information and documents generated in digital archiving systems at national and international level. The need to develop language technology for local scripts for organizing and preserving our cultural heritage is also stressed

Interventions, Productions and Collaborations:the relationship between RAI and visual artists

On 17 May 1952, before RAI Radiotelevisione Italiana Studios began their regular broadcast from Milan, the Spatialist painter and sculptor Lucio Fontana broadcast his own experimental 'artwork' on Italian television, beginning a fruitful relationship between RAI and visual artists. For some, such as the painter Mario Sasso and the Arte Povera artist Pino Pascali, it provided careers as designers and art directors. For others, such as Carlo Quartucci and Gianni Toti, who were given unique access to RAI's television apparatus, it was an opportunity to explore their own artistic experimentations with an expensive and exclusive medium. RAI also hosted seminal artists' performances on-screen including John Cage and Fabio Mauri. This article, based on documents and interviews collected during the Arts and Humanities Research Council-funded project REWINDItalia, discusses these and other seminal cases as well as tracing and assessing the history of this fruitful and complex exchange between RAI and visual artists