![]() ![]() True connoisseurship relates to the expert judgment of the trained eye and is so much more than mechanically matching brushstrokes and images.”īendor Grosvenor, an art historian and a columnist at The Art Newspaper, says: “This story is so perfectly AI it can’t tell what’s real or not, and nor can the media reporting it. ![]() While I am always open to the use of new technologies and approaches, I would not support an assessment of authenticity that relies on AI. The Madonnas depicted in each painting had a 97% similarity, while the infant shown in each had an 86% similarity (a rating above 75% is considered identical according to the study).Īngelamaria Aceto, researcher in Italian drawings at the Ashmolean Museum in Oxford, tells The Art Newspaper: “I have never seen the piece in person but judging from the photograph it would appear to be a copy after Raphael. In January, research teams from the University of Bradford and the University of Nottingham said that they had used new facial recognition technology to examine the de Brécy Tondo, comparing the faces in the work to those in the Sistine Madonna. The de Brécy Tondo is now on show at Bradford’s Cartwright Hall Art Gallery in the UK, the first time it has gone on public display. ![]() Earlier this year, an analysis by two UK universities using AI-assisted, computer-based facial recognition showed that the faces in the work known as the de Brécy Tondo were identical to those in Raphael’s masterpiece, the Sistine Madonna (around 1513). Old Masters experts have questioned a painting newly attributed to Raphael via an artificial intelligence programme. ![]()
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