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001 EBC30796283
003 MiAaPQ
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006 m o d |
007 cr cnu||||||||
008 250807s2023 xx o ||||0 eng d
020 _a9781394186648
_q(electronic bk.)
020 _z9780470229446
035 _a(MiAaPQ)EBC30796283
035 _a(Au-PeEL)EBL30796283
035 _a(OCoLC)1406412247
040 _aMiAaPQ
_beng
_erda
_epn
_cMiAaPQ
_dMiAaPQ
100 1 _aStork, David G.
245 1 0 _aPixels and Paintings :
_bFoundations of Computer-Assisted Connoisseurship.
250 _a1st ed.
264 1 _aNewark :
_bJohn Wiley & Sons, Incorporated,
_c2023.
264 4 _c�2024.
300 _a1 online resource (1445 pages)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
505 0 _aCover -- Title Page -- Copyright � -- About the Cover -- Dedication -- Table of Contents -- List of Figures -- List of Tables -- List of Algorithms -- Preface -- Giovanni Morelli and the birth of "scientific" connoisseurship -- Overview -- Intended audience -- Prerequisites -- Acknowledgements -- 1 Digital imaging -- 1.1 Introduction -- 1.2 Electromagnetic radiation and light -- 1.3 Interaction of electromagnetic radiation with art materials -- 1.4 Cameras and scanners -- 1.5 Parameters for image acquisition in the visible -- 1.6 Reading digital images of art on-screen -- 1.7 Infrared photography and reflectography -- 1.8 Ultraviolet imaging -- 1.9 Multispectral and hyperspectral imaging -- 1.10 X‐radiographic imaging -- 1.11 Fluorescence imaging -- 1.12 Capture of three-dimensional surfaces of art -- 1.13 Optical coherence tomography (OCT) -- 1.14 Raman spectroscopic imaging and X‐ray fluorescence imaging -- 1.15 Summary -- 1.16 Bibliographical remarks -- 2 Image processing -- 2.1 Introduction -- 2.2 Pixel-based image processing -- 2.3 Region-based image processing -- 2.4 Inpainting -- 2.5 Feature extraction -- 2.6 Segmentation -- 2.7 Geometric transformations -- 2.8 Chamfer transform and Chamfer distance -- 2.9 Discrete Fourier and wavelet transforms -- 2.10 Compositing and integrating art images -- 2.11 Image separation -- 2.12 Summary -- 2.13 Bibliographical remarks -- 3 Color analysis -- 3.1 Introduction -- 3.2 Visible-light spectra and color appearance -- 3.3 Overview of human color vision -- 3.4 Physics of color in art materials -- 3.5 Representing color arising from mixing paints -- 3.6 Digital rejuvenation of pigment colors -- 3.7 Digital cleaning of paintings -- 3.8 Summary -- 3.9 Bibliographical remarks -- 4 Brush stroke and mark analysis -- 4.1 Introduction -- 4.2 Analysis of printed lines and marks -- 4.3 Inferring tools from marks.
505 8 _a4.4 Characterizing the shapes of strokes and marks -- 4.5 Global methods for inferring sequences of marks in paintings -- 4.6 Summary -- 4.7 Bibliographical remarks -- 5 Perspective and geometric analysis -- 5.1 Introduction -- 5.2 Projective geometry -- 5.3 Estimating the center of projection -- 5.4 Estimating geometric accuracy in artworks -- 5.5 Slant anamorphic art -- 5.6 Inferring depth from projected images -- 5.7 Summary -- 5.8 Bibliographical remarks -- 6 Optical analysis -- 6.1 Introduction -- 6.2 Reflection and refraction -- 6.3 Plane mirrors -- 6.4 Convex spherical mirrors -- 6.5 Conical and cylindrical mirrors and anamorphic art -- 6.6 Concave spherical mirrors -- 6.7 Converging lenses -- 6.8 Camera lucida and camera obscura -- 6.9 Optical projections and the creation of art -- 6.10 Refraction and nonimaging optics in art -- 6.11 Summary -- 6.12 Bibliographical remarks -- 7 Lighting analysis -- 7.1 Introduction -- 7.2 Basic shadows -- 7.3 Cast-shadow analysis -- 7.4 Lighting information from highlights -- 7.5 The optics of diffuse reflections -- 7.6 Inferring illumination from plane surfaces -- 7.7 Interreflection -- 7.8 Occluding-contour algorithms -- 7.9 Computer graphics for the analysis of lighting -- 7.10 Shape-from-shading algorithms -- 7.11 Integrating lighting estimates -- 7.12 Lighting analysis for dating depicted scenes -- 7.13 Summary -- 7.14 Bibliographical remarks -- 8 Object analysis -- 8.1 Introduction -- 8.2 Image-based object classification -- 8.3 Feature-based analysis of faces and bodies -- 8.4 Deep neural network-based object recognition -- 8.5 Summary -- 8.6 Bibliographical remarks -- 9 Style and composition analysis -- 9.1 Introduction -- 9.2 Automatic classification of style -- 9.3 Compositional balance -- 9.4 Geometric properties of composition -- 9.5 Analysis of trends and similarities in artistic style.
505 8 _a9.6 Style transfer -- 9.7 Recovering Rembrandt's complete The Night Watch -- 9.8 Computational generation of images for art analysis -- 9.9 Summary -- 9.10 Bibliographical remarks -- 10 Semantic analysis -- 10.1 Introduction -- 10.2 Semantics and visual art -- 10.3 Meaning through associations -- 10.4 Semantics of color -- 10.5 Identifying saints by their attributes -- 10.6 Learning associations between signifiers and signifieds -- 10.7 Meaning through artistic style -- 10.8 Automatic image captioning and question answering -- 10.9 Meaning through shape relations and associations -- 10.10 Summary -- 10.11 Bibliographical remarks -- Appendix -- A Symbols, acronyms, and mathematical notation -- B Probability -- C Bayes' theorem and reasoning about uncertainty -- D Deep neural networks -- E Ray tracing and image formation in mirrors and lenses -- F Resources -- Bibliographical remarks -- Epilog -- Glossary -- Bibliography -- Figure credits -- Timeline of artists -- Index of artists -- Index -- About this Book -- EULA.
588 _aDescription based on publisher supplied metadata and other sources.
590 _aElectronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2025. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
650 0 _aImage analysis.
650 0 _aImage processing-Digital techniques.
650 0 _aArt appreciation-Data processing.
655 4 _aElectronic books.
776 0 8 _iPrint version:
_aStork, David G.
_tPixels and Paintings
_dNewark : John Wiley & Sons, Incorporated,c2023
_z9780470229446
797 2 _aProQuest (Firm)
856 4 0 _uhttps://ebookcentral-proquest-com.mlisicats.remotexs.co/lib/ppks/detail.action?docID=30796283&query=9781394186648
_zClick to View
942 _2lcc
_cEB
999 _c1961
_d1961