Paintings, Publics, and Protocols: the early paintings from Papunya

Distinguishing paintings from photographs

We addressed the problem of automatically differentiating photographs of real scenes from photographs of paintings. We found that photographs differ from paintings in their color, edge, and texture properties. Based on these features, we trained and tested a classifier on a database of 6000 paintings and 6000 photographs. Using single features results in 70–80% correct discrimination performanc...

Identifying Emotions Aroused from Paintings

Understanding the emotional appeal of paintings is a significant research problem related to a↵ective image classification. The problem is challenging in part due to the scarceness of manually-classified paintings. Our work proposes to apply statistical models trained over photographs to infer the emotional appeal of paintings. Directly applying the learned models on photographs to paintings ca...

heterogeneity within the orientalist discourse: representation of the orient in womens travelogues and mens paintings

from 1950s onward, new theories and critical approaches burgeoned across humanities. these theories were context-oriented; as a result, the analysis of discursive practices gained significance. thus, social, political, historical and cultural discourses that have been hitherto marginalized and considered inferior to literary texts, were introduced as important texts to be analyzed by critics. o...

Looking Through Paintings

The Early Use of Prussian Blue in Paintings

As far as is known, the pigment Prussian blue was synthesised for the first time in Berlin in the early 1700s. It is commonly assumed that the pigment was not used in paintings before the 1720s. The presence or absence of this pigment is often used to answer questions concerning the dating and authenticity of art objects from the 18th Century. For the very first time, a large collection of Fren...