Pigeon nidopallium caudolaterale, entopallium, and mesopallium ventrolaterale neural responses during categorisation of Monet and Picasso paintings.

Pigeons can successfully discriminate between sets of Picasso and Monet paintings. We recorded from three pallial brain areas: the nidopallium caudolaterale (NCL), an analogue of mammalian prefrontal cortex; the entopallium (ENTO), an intermediary visual area similar to primate extrastriate cortex; and the mesopallium ventrolaterale (MVL), a higher-order visual area similar to primate higher-order extrastriate cortex, while pigeons performed an S+/S- Picasso versus Monet discrimination task. In NCL, we found that activity reflected reward-driven categorisation, with a strong left-hemisphere dominance. In ENTO, we found that activity reflected stimulus-driven categorisation, also with a strong left-hemisphere dominance. Finally, in MVL, we found that activity reflected stimulus-driven categorisation, but no hemispheric differences were apparent. We argue that while NCL and ENTO primarily use reward and stimulus information, respectively, to discriminate Picasso and Monet paintings, both areas are also capable of integrating the other type of information during categorisation. We also argue that MVL functions similarly to ENTO in that it uses stimulus information to discriminate paintings, although not in an identical way. The current study adds some preliminary evidence to previous literature which emphasises visual lateralisation during discrimination learning in pigeons.

Diagnosticar en el arte / Diagnosing in art

El objetivo de este artículo es presentar una atractiva herramienta de enseñanza en la imagenología mamaria, utilizando las musas de los artistas del Renacimiento y el Barroco. Los ejemplos aquí descritos ilustran cómo se puede conjugar la medicina y el arte para despertar el interés de quien se introduce en el aprendizaje de la lectura mamográfica

The aim of this article is to present an appealing tool for teaching breast imaging that uses the muses of Renaissance and Baroque artists. The examples described here show how medicine and art can be combined to arouse interest in newcomers to breast imaging

Smartphone sensors for stone lithography authentication.

Nowadays mobile phones include quality photo and video cameras, access to wireless networks and the internet, GPS assistance and other innovative systems. These facilities open them to innovative uses, other than the classical telephonic communication one. Smartphones are a more sophisticated version of classic mobile phones, which have advanced computing power, memory and connectivity. Because fake lithographs are flooding the art market, in this work, we propose a smartphone as simple, robust and efficient sensor for lithograph authentication. When we buy an artwork object, the seller issues a certificate of authenticity, which contains specific details about the artwork itself. Unscrupulous sellers can duplicate the classic certificates of authenticity, and then use them to "authenticate" non-genuine works of art. In this way, the buyer will have a copy of an original certificate to attest that the "not original artwork" is an original one. A solution for this problem would be to insert a system that links together the certificate and the related specific artwork. To do this it is necessary, for a single artwork, to find unique, unrepeatable, and unchangeable characteristics. In this article we propose an innovative method for the authentication of stone lithographs. We use the color spots distribution captured by means of a smartphone camera as a non-cloneable texture of the specific artworks and an information management system for verifying it in mobility stone lithography.

Application of ultrasound phase-shift analysis to authenticate wooden panel paintings.

Artworks are a valuable part of the World's cultural and historical heritage. Conservation and authentication of authorship are important aspects to consider in the protection of cultural patrimony. In this paper we present a novel application of a well-known method based on the phase-shift analysis of an ultrasonic signal, providing an integrated encoding system that enables authentication of the authorship of wooden panel paintings. The method has been evaluated in comparison with optical analysis and shows promising results. The proposed method provides an integrated fingerprint of the artwork, and could be used to enrich the cataloging and protection of artworks. Other advantages that make particularly attractive the proposed technique are its robustness and the use of low-cost sensors.

Vis4Heritage: visual analytics approach on Grotto wall painting degradations.

For preserving the Grotto wall paintings and protecting these historic cultural icons from the damage and deterioration in nature environment, a visual analytics framework and a set of tools are proposed for the discovery of degradation patterns. In comparison with the traditional analysis methods that used restricted scales, our method provides users with multi-scale analytic support to study the problems on site, cave, wall and particular degradation area scales, through the application of multidimensional visualization techniques. Several case studies have been carried out using real-world wall painting data collected from a renowned World Heritage site, to verify the usability and effectiveness of the proposed method. User studies and expert reviews were also conducted through by domain experts ranging from scientists such as microenvironment researchers, archivists, geologists, chemists, to practitioners such as conservators, restorers and curators.

Goya's artwork imaging with Terahertz waves.

In this paper we use a Terahertz (THz) time-domain system to image and analyze the structure of an artwork attributed to the Spanish artist Goya painted in 1771. The THz images show features that cannot be seen with optical inspection and complement data obtained with X-ray imaging that provide evidence of its authenticity, which is validated by other independent studies. For instance, a feature with a strong resemblance with one of Goya's known signatures is seen in the THz images. In particular, this paper demonstrates the potential of THz imaging as a complementary technique along with X-ray for the verification and authentication of artwork pieces through the detection of features that remain hidden to optical inspection.

Artistic image analysis using graph-based learning approaches.

We introduce a new methodology for the problem of artistic image analysis, which among other tasks, involves the automatic identification of visual classes present in an art work. In this paper, we advocate the idea that artistic image analysis must explore a graph that captures the network of artistic influences by computing the similarities in terms of appearance and manual annotation. One of the novelties of our methodology is the proposed formulation that is a principled way of combining these two similarities in a single graph. Using this graph, we show that an efficient random walk algorithm based on an inverted label propagation formulation produces more accurate annotation and retrieval results compared with the following baseline algorithms: bag of visual words, label propagation, matrix completion, and structural learning. We also show that the proposed approach leads to a more efficient inference and training procedures. This experiment is run on a database containing 988 artistic images (with 49 visual classification problems divided into a multiclass problem with 27 classes and 48 binary problems), where we show the inference and training running times, and quantitative comparisons with respect to several retrieval and annotation performance measures.

Thermal Quasi-Reflectography: a new imaging tool in art conservation.

In the artwork conservation field, non contact diagnostic and imaging methods are widely used and most welcomed. In this work a new imaging tool, called Thermal Quasi-Reflectography (TQR), is proposed and demonstrated. It is based on the recording, by suitable procedures, of reflected infrared radiation in the MWIR band (3-5 µm). The technique, simple to perform, can provide very interesting results in the analysis of the painting surfaces. TQR was demonstrated in situ on two famous artworks: the Zavattari's frescos in the Chapel of Theodelinda (Italy) and the masterpiece by Piero della Francesca "The Resurrection" (Italy).

Empirical mode decomposition analysis for visual stylometry.

In this paper, we show how the tools of empirical mode decomposition (EMD) analysis can be applied to the problem of "visual stylometry," generally defined as the development of quantitative tools for the measurement and comparisons of individual style in the visual arts. In particular, we introduce a new form of EMD analysis for images and show that it is possible to use its output as the basis for the construction of effective support vector machine (SVM)-based stylometric classifiers. We present the methodology and then test it on collections of two sets of digital captures of drawings: a set of authentic and well-known imitations of works attributed to the great Flemish artist Pieter Bruegel the Elder (1525-1569) and a set of works attributed to Dutch master Rembrandt van Rijn (1606-1669) and his pupils. Our positive results indicate that EMD-based methods may hold promise generally as a technique for visual stylometry.

Analysis of the painting "Gioventú" (Eliseu Visconti) using EDXRF and computed radiography.

In this work, the painting "Gioventú" (Eliseu Visconti, 1898) was analyzed by means of energy dispersive X-ray fluorescence and computed radiography. A portable EDXRF system was employed to identify the pigments used by the artist: yellow, red and brown ocher; umber; vermilion; cobalt blue; lead white and viridian (or chromium oxide). The CR analysis revealed that the painting was in a good state of conservation and also a previous composition hidden under the painting.

Characterization of Brazilian artists' palette from the XIX century using EDXRF portable system.

In this work were characterized the palettes of some of the most representative Brazilian painters from the XIX century: Eliseu Visconti, Almeida Junior, Rodolfo Amoedo, Henrique Bernardelli, Rafael Frederico, Modesto Brocos, Augusto Rodrigues Duarte and Pedro Peres. EDXRF measurements were carried out with a portable system consisting of an X-ray tube Oxford TF3005 and a Si-PIN XR-100CR detector from Amptek. Some pigments identified were: zinc and lead white, ochre, umber, vermilion, Prussian blue, cobalt blue, cadmium yellow, black iron oxide, etc.

Total synchronous fluorescence spectroscopy combined with multivariate analysis: method for the classification of selected resins, oils, and protein-based media used in paintings.

Recent interest in the fluorescence of binding media and varnishes (proteins, oils, and resins) commonly used in paintings is based on the potential for discriminating these organic materials. A useful way of studying the presence of the broad-band fluorescence emissions found in these complex organic materials is fluorescence excitation emission spectroscopy. However, due to the presence of Raman and Rayleigh scattering which may necessitate correction or preprocessing for statistical analysis and visualization, an alternative approach has been adopted for the analysis of different samples of artist materials based on total synchronous fluorescence spectroscopy. Films of selected drying oils, glue, egg, and casein and the resins mastic, dammar, copal, and shellac were analyzed using total synchronous fluorescence spectroscopy, and an interpretation of the differences between spectra is given. A data reduction method based on the transformation of fluorescence contours extracted from total synchronous fluorescence from Cartesian to polar coordinates is presented and is followed by the comparison of data using multivariate analysis and hierarchical cluster analysis. Results suggest that the new method can be used to classify samples on the basis of their fluorescence spectra, clearly differentiating oils, resins, and protein-based media into groups.

Nondestructive multispectral reflectoscopy between 800 and 1900 nm: An instrument for the investigation of the stratigraphy in paintings.

In the present work, a powerful tool for the investigation of paintings is presented. This permits the tuneable multispectral real time imaging between 200 and 5000 nm and the simultaneous multispectral acquisition of spectroscopic data from the same region. We propose the term infrared reflectoscopy for tuneable infrared imaging in paintings (Chryssonlakis and Chassery, The Application of Physicochemical Methods of Analysis and Image Processing Techniques to Painted Works of Art, Erasmus Project ICP-88-006-6, Athens, June, 1989) for a technique that is effective especially when the spectroscopic data acquisition is performed between 800 and 1900 nm. Elements such as underdrawings, old damage that is not visible to the naked eye, later interventions or overpaintings, hidden signatures, nonvisible inscriptions, and authenticity features can thus be detected with the overlying paint layers becoming successively "transparent" due to the deep infrared penetration. The spectroscopic data are collected from each point of the studied area with a 5 nm step through grey level measurement, after adequate infrared reflectance (%R) and curve calibration. The detection limits of the infrared detector as well as the power distribution of the radiation coming out through the micrometer slit assembly of the monochromator in use are also taken into account. Inorganic pigments can thus be identified and their physicochemical properties directly compared to the corresponding infrared images at each wavelength within the optimum region. In order to check its effectiveness, this method was applied on an experimental portable icon of a known stratigraphy.

Wooden panel paintings investigation: an air-coupled ultrasonic imaging approach.

In this paper, a method for the study of wooden panel paintings using air-coupled acoustical imaging is presented. In order to evaluate the advantages of the technique, several samples were made to mimic panel paintings along with their typical defects. These specimens were tested by means of both single-sided and through-transmission techniques using planar transducers. Image data were processed by means of a two-dimensional (2-D)-fast Fourier transform-based algorithm to increase the S/N ratio and 2-D representations (C-scans) were generated. The simulated defects were imaged using both configurations. Investigations were undertaken on four antique paintings from a private collection. The results presented and discussed in this investigation confirm both the robustness and the effectiveness of the technique in detecting defects such as delaminations and cracks in wooden panel paintings.

What's inside the art? The influence of frontotemporal dementia in art production.

We evaluated the productions of an artist with frontotemporal lobar degeneration from before dementia onset until she was fully symptomatic. We noted an improvement of technique that might be related to sparing and disinhibition of the right posterior neocortex. There was a reduction of closure (completeness of the painting), possibly induced by impersistence and a decrease in evocative impact that might be explained by frontal and anterotemporal-limbic dysfunction.

Aragonite in Roman wall paintings of the VIII(a) Regio, Aemilia, and X(a) Regio, Venetia et Histria.

In the Roman wall paintings different white colours were used, named Paraetonium, Melinum, Anularia, Eretria, Argentaria, etc. FTIR, Raman spectroscopy and X-Ray diffraction were applied to study different white pigments, such as calcite, aragonite, dolomite and huntite, white carbonates present in archaeological findings from Roman walls in the Mediterranean region. This study showed that it is possible to distinguish and identify these components in white colours. About 450 samples of Roman wall paintings were analysed and it was observed that often aragonite is associated to precious coloured pigments. On the basis of the obtained results some considerations about the period in which the different kinds of white pigments were used are proposed.

Anatase--a pigment in ancient artwork or a modern usurper?

Fragments of wall-paintings from Roman villas in Easton Maudit, which date from ca 150 AD have been studied by Raman spectroscopy. An intact ancient Roman paint pot discovered in the remains of a villa in Castor, Cambridgeshire, still containing a mixture of white and red pigment was also analysed and the pigments identified as haematite and anatase. The discovery of anatase in the intact artist's paint pot, particularly, and also on fragments of broken paint pots from the Easton Maudit villa site, is a unique contribution to current knowledge of ancient European pigment history, because the presence of this mineral has not hitherto been recognised fully in an ancient artist's palette. The relative spectral response of anatase and haematite in the Raman data is compared with that of anatase and other red pigments such as minium, cinnabar, and litharge.

Optical characterization of varnish films by spectroscopic ellipsometry for application in artwork conservation.

The specific aim of this paper is to measure the optical constants of fresh varnish layers up to a thickness of 10 mum by spectroscopic ellipsometry. It is the first time that this technique has been used in artwork conservation and it may prove very promising due to its nondestructive character. Samples of fresh dammar varnish (natural resin) and Paraloid B72 (synthetic resin) applied on glass and carbon black acrylic paint were analyzed. Both varnishes were considered as perfect dielectrics, and the real part of their refractive index was described by the Cauchy model: n (lambda) = A + B/lambda(2) + C/lambda(4). The Cauchy coefficients for dammar varnish and Paraloid B72 were then determined for layers of known thickness. The ellipsometric data were fitted to a model, which includes a mixed varnish-air layer. The optical properties of this layer were calculated by the Bruggeman effective medium approximation. In the case of carbon black acrylic paint, another mixed layer (paint-varnish) was added to the model. The results are very close to the values given in the literature. Given the measurement reproducibility, the results show that ellipsometry can discriminate between dammar varnish and Paraloid B72. This is very important in artwork conservation studies, because it has been done by time-consuming, destructive techniques up to now. Future work includes measurements of other types of natural and synthetic varnishes, in an attempt to introduce a nondestructive method for picture varnish identification and aging studies.

Psychopathology in paintings: a meta-analysis of studies using paintings by psychiatric patients.

We classified 242 reliable scales from 12 art-based studies of psychiatric patients into 14 qualitative categories and also by three types of decision: form, objective or subjective content. We used meta-analytic techniques to combine and compare different results from studies testing the asssociation of art characteristics with psychopathology. Distinctions between controls and patients were more apparent than those between diagnoses. The largest effects distinguished patients and controls on categories of content, body details, energy and media control. Diagnostic groups were differentiated on energy and complexity. There were other less distinct differences for both types of comparison. There were serious criticisms of the quality of the literature, and a lack of information on validity and reliability, but this study suggests that art characteristics do relate to psychopathology.