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Help from the Computer Lab

It’s not often that I find myself heading for lectures sponsored by applied mathematicians, but last Sprightliness I went to the Math department at the University of Pennsylvania to hear David Stork talk about the usefulness of computer modeling for art historians.

computer survey of Velazquez’s Las Meninas

And I wasn’t the lone art historian.  I found myself sitting beside David Stone of the University of Delaware and behind us was Chris Poggi, University of Pennsylvania, with a swat of hers.  Stork, the chief scientist at Ricoh Innovations and Consulting Professor of Statistics at Stanford University was always interested in art and has calculated art history.  He’s also pioneered the field of computer imaging of art, the talk’s subject.  What’s interesting about Stork’s drudgery is that it doesn’t begin with a thesis.  Rather he’s developed a range of tools which he can bring to pre-existing art historical questions: precisely what is happening in Las Meninas?  How accurately did Vermeer reproduce the scenes and/or figures that he represented?  And most sensationally, is David Hockney repair in his theory that Renaissance painters used optical devices to create such highly realistic looking paintings?

Stork is as well off talking to art and even general audiences as he is talking to scientists; he’s given literally hundreds of talks worldwide on computer imaging of art, including presentations at the Louvre, the Metropolitan Museum of Art and MoMA.  Stork is accomplished to recreate a scene in computer graphics from a painting then manipulate the recreation in three dimensions (so it can be seen from behind); he can rigorously analyze the where one is coming from of a painting using methods far beyond the simple perspective lines we all know from elementary school.  Perhaps most novella are his methods for determining the location of light sources in a tableau, and consistency and accuracy of a realist artist’s conception of lighting.  The later means he can distinguish works that were assembled from multiple drawings made at different times from those where the artist worked from spark of life.  He was able to remove the uppermost color that Van Gogh applied to a painting, revealing what it had looked like in progression.  And he has used computer imaging to study the authenticity of putative Jackson Pollock paintings.

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Argonne National Lab - Theory and Computing Sciences, Accelerating Scientific Discovery

Argonne's new TCS edifice houses all of Argonne's computing divisions, and is designed to foster collaboration of the Manhattan Project ...