How To Find The Artist Of A Painting

If we look at art history, nosotros will find many stories regarding lost masterpieces and excellent works which accept been forgotten past the spotlight, have been racking up dust in someone's attic before being rediscovered, or that have just gone into the oblivion of fourth dimension. At the same fourth dimension, it often happens to detect ourselves driven towards a piece of work, which is not necessarily a masterpiece, and even more than, it doesn't even specify its provenance or the proper name of the artist.

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A glance of greatness tin often be seen in many paintings, even when the viewer is not well informed about the hand that produced such dazzler, only present, thanks to modern technology, information technology becomes much easier to take access to these types of information, and to quickly find the proper noun of the artist behind a pleasing painting.

Also all the famous stories that can exist institute if looking dorsum into the past, information technology can be said that sometimes, when nosotros notice ourselves wandering around a museum, a gallery, or even a private apartment, we feel strongly engaged towards a bright piece of fine art. In that moment, our eye is attracted towards something beautiful, withal to us anonymous, and that particular fact often triggers our hunger for knowledge. This specific instantis subject to a series of mixed feelings; on one hand nosotros feel invested by the forcefulness of something enigmatic and dubious, such as a painting with no painter, but at the same fourth dimension our need to empathise drives usa to research and dig into art history until the name of the creative person is finally unveiled.

It goes without maxim, that a good middle can spot a skillful painting. Therefore, a well-prepared observer already has the instruments he needs to chronicle a pieceof art to a specific fourth dimension catamenia, making information technology easier for a knowledgeable viewer to find the proper name of the artist who made it, compared to any random occasional company.

The Shazam effect

In contemporary times there is no identify for discomfort, making information technology foregone that: to every trouble, technology brings solutions. A skilful instance of what has merely been said can be given past taking a expect at what "Shazam" did for music listeners; a simple all the same highly technological app, which created a service, and a solution, for all of those who felt the need to know the name of the producer behind a song that they heard in a bar, a nightclub or a music festival. It becomes spontaneous, for an art world that is moving more and more than into the void of the digital era, to try to satisfy its viewers' need to know the proper noun of the artist behind a painting, without engaging a stressful and often frustrating research, and to do and then by using high quality technological services. There are apps to place wine bottles, there is Shazam for plants, clothes and songs, and now, finally, at that place is a similar service for art.

Magnus, Smartify and Google Lens: art inside reach

These three examples of fine art-oriented apps serve themselves of image recognitiontechnology and big-information sciences, to provide the viewer with firsthand responses to their questions, each of them coming with an own twist.

For example, if we have a closer look at Magnus, developed by Magnus Resch, we will observe an app that is completely user-based, and is providing quick responses for the everyday viewer who wants to detect the name of the artist of a painting. The observer gains easy admission to a crowdsourced database of more 10 meg images, and therefore is put in contact with galleries and art fairs that he or she usually don't know about.

On the other side, other apps are based on what we call "museumgoers", hence people who are more into the fine art world and are keener to visit by themselves cultural spaces and galleries. Smartify, for example, also takes a more educational approach, establishing collaborations and connections with museums, to create, and upload, digital formats of their collections and exhibitions, providing them of their wall texts and information, but by doing and then information technology occurs that it allows people to arrive close contact simply with those realities that are linked to the app, limiting in some fashion its potential.

Google Lens, Google's latest and about advanced prototype recognition technology, is instead all most getting shut to the people; a mindset that makes this company in all aspects unique. What this app wants to achieve, is to requite the consumer open access to information regarding artworks, design objects, local and public art, past creating partnerships with museums like the Young Museum in San Francisco, and by displaying their collections online. It is an immediate assumption that an app that is developed by Google, aims to communicate to the widest possible target, and therefore information technology was created for the everyday worker, who is not a habitual fine art affectionate, and who wants to larn during his time at the café or at the Co-Working space he is used to go.

From left to right:Ms. Cohen scanning works by Helen Frankenthaler at the Parrish Fine art Museum: at left, "Provincetown Window" (1963-64); summit right, "Provincetown" (1964); and bottom right, "Summertime Scene: Provincetown" (1961), Credit...Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York; Vincent Tullo for The New York Times ; Magnus has built a database of more than 10 one thousand thousand images of art. Ms. Cohen uses the app on other Frankenthaler works at the Parrish, at left, "Embankment Scene" (1961), and right, "Square Figure" (1961) Credit...Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York; Vincent Tullo for The New York Times.

Problems and barriers of art-related information technologies

When large information sciences confront themselves with a fragile and circuitous argument like the i of painting and creative production, information technology happens to be a much more than difficult claiming that it might seem. It is interesting to spend some time understanding what the problematics are, when engaging in a service of that sort.

A starting point comes in one case again from Magnus Resch himself, whom one time stated that "at that place is a lot more fine art than there are songs". This statement tin be taken every bit almost totally true, for the fact that: it might be truthful that the process of cataloging individual artworks based in unique locations, is harder than cataloging entire albums and discographies under a single digital "place". But it is also truthful, that underground music is not driven by the same desire towards mainstream, which is instead a general necessity of about of the creative and painterly productions, even when coming from the about hidden meanders, hence the higher amount of museums and galleries that respond to that specific demand.

Besides the most obvious problems linked to copyright infringement, which is a very thin and subtle argument in a user based online world and has already been regulated by the Digital Millenial Copyright Act, there are other problematic aspects that deserve to be analized. How can 3D objects and sculptures be loyally reproduced in an abstract and illusive dimension similar the one offered by digital platforms? What happens to the viewer'due south feel of the "aura", the presence, of an artwork, when the experience is transposed online, where space and fourth dimension are subject area to various mutations?

For what concerns multi-dimensional objects, it comes naturally to believe that, while present image recognition technologies are still baffled by 3D artifacts, someday soon the fast-moving development of augmented reality services might exist able to respond to this request, and correct the currently existing "lags".

If we dig into the issues regarding "aura", nosotros will immediately understand that engaging in such a deep analysis would be frustrating and timeless, and it is therefore a trouble that today has no solution. It is smart and forward looking to keep count of the positive aspects that are being achieved and accept all of the imperfections that with due time might equally well be solved.

Equally Magnus Resch suggested, there are some key aspects to be seen most the "transparency" that online services are able to requite to the viewer, who might exist searching for the artist that made a detail painting. With the term "transparency" Mr. Resch defines the amount of details regarding toll and information most the provenance of the displayed piece of work, which are often left apart past galleries and collections. The viewer normally has to enquire in gild to know the name of the artist, and apps like Magnus requite an immediate response to that frequent question.

Magnus, find the name of the creative person of a painting, and much more!.

Conclusions: how practise I find the artist of a painting?

As vastly explained througout the commodity, nosotros are lucky to live into a forward moving, digital and technological society, in which large data sciences enable the states to get access to bodyless and uncomplicated cataloging methods, allowing a quick and well displayed response to our need-to-know. Learning how to read a gesture, an aesthetic trend and to recognize it into a painting who's provenance is however unknown, is a form of noesis that is probably becoming more and more unnecessary, thanks to apps like Magnus, Smartify, Google Lens and others that are existence adult as we speak. Information technology tin be said, to the well informed reader, that these type of technologies must be used with judgement, meaning that, although information technology is interesting and extremely useful to have access to these instant informations, we shall not employ these apps as our only form of understanding, merely instead, we should utilize their incredible potential by combining them with our groundwork and research in gild to develop a more consummate form of cognition.