Psychologist Tim Smith describes how a painting was saved by a combination of eye-tracking technology, and conservation experts Photoshop
When the Tate Britain has decided to organize a major exhibition of the work of British artist John Martin, who faces a difficult decision: Should we try to restore his masterpiece the work lost, the destruction of Pompeii and Herculaneum? This work was the centerpiece of Martin solo exhibition in 1822 at the Egyptian Hall, Piccadilly, where the ads he describes as "the most remarkable production of the pencil that appeared in this or any other country." But in 1928 The painting was declared irreparable harm if the Thames burst its banks and flooded the basement of the gallery. He suffered severe water damage and one fifth of the fabric - the section that shows the eruption of Vesuvius -. He missed
In 2010, Tate decided to try a restore. Advances in conservation techniques that the existing paint could be cleaned and stabilized, but this is the important question of what to do with losses article. As part of its investigation, the Tate decided to consult - a scientific vision - and together they designed an experiment to help guide the restoration process
My research is to study how to help visual scenes and how this influences what we see. The same features that can attract our attention in the real world, as people's faces, the points of high contrast and violent images also guides attention when looking at an image. The classical theories of conservation, such as the theory of Cesare Brandi restoration in the 1960s refers to contemporary psychological theories of vision, but our understanding of the human visual system has advanced considerably since then.
decisions taken by the Conservatives in the restoration of important works of art have a direct influence on how the final painting will be seen and there are many psychological knowledge that can inform this process. For example, computer models of visual attention can mean a guardian if the crack or loss of a segment is likely to capture the viewer's attention and how this will change depending on the context in which we see the painting.For damage
John Martin decided to compare how the spectators who attended and gave meaning to different digital reconstructions of the file paint the eye movements of the viewer. A Eyetracker uses infrared high-speed cameras to record when a person sees on a screen. This allowed the Tate to predict how viewers can participate in the final product before embarking on costly and time consuming work in the paint itself. conservative TATE Sarah Maisey created four versions of digital painting. Taking data from a small intact copy of the painting of Martin, Sarah has created a digital image of the existing paint, digital retouching smaller losses and insertion of a modified copy of the smallest the great loss. These images were presented to 20 spectators (who had never seen before painting) on ??a large computer screen in my laboratory, as part of a longer sequence of painting. Each viewer is to see the fully restored version, a similar version but with less detail in the section of filling, a restored version with muted colors in the filling section or a neutral color to fill with no detail.
immediately obvious to look in places completely rebuilt version was that the paint contains only a few highlights of the activity, such as the heart of the volcano, the city in the midground and the foreground the figures. When the reason for the viewer's gaze is reproduced as a video that is not clear how the mouth of the volcano is one of the first areas to be set and the viewer follows the lines drawn by Martin Diagonal View across the city for figures in the foreground.
vision of destruction was given a new lease of life and can now be enjoyed by future generations, instead of lying abandoned in the shops of the Tate. Hopefully this turns out to be the first of many collaborations between science and the vision of art conservation.
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