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Tyler, C. W.; Smith, W. A. P.; Stork, D. G. (2012)
Languages: English
Types: Article
Subjects: RE
One of the enduring mysteries in the history of the Renaissance is the adult appearance of the archetypical "Renaissance Man," Leonardo da Vinci. His only acknowledged self-portrait is from an advanced age, and various candidate images of younger men are difficult to assess given the absence of documentary evidence. One clue about Leonardo's appearance comes from the remark of the contemporary historian, Vasari, that the sculpture of David by Leonardo's master, Andrea del Verrocchio, was based on the appearance of Leonardo when he was an apprentice. Taking a cue from this statement, we suggest that the more mature sculpture of St. Thomas, also by Verrocchio, might also have been a portrait of Leonardo. We tested the possibility Leonardo was the subject for Verrocchio's sculpture by a novel computational technique for the comparison of three-dimensional facial configurations. Based on quantitative measures of similarities, we also assess whether another pair of candidate two-dimensional images are plausibly attributable as being portraits of Leonardo as a young adult. Our results are consistent with the claim Leonardo is indeed the subject in these works, but we need comparisons with images in a larger corpora of candidate artworks before our results achieve statistical significance.
  • The results below are discovered through our pilot algorithms. Let us know how we are doing!

    • 1. G. Vasari, Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times, Torrentino, Florence, 1550.
    • 2. S. Woldhek, The true face of Leonardo, Video, 2008.
    • 3. R. Zhang, P. S. Tsai, J. E. Cryer, and M. Shah, “Shape-from-shading: a survey,” IEEE Trans. Pattern Anal. Mach. Intell. 21(8), pp. 690-706, 1999.
    • 4. I. Tastl, R. Sablatnig, and W. G. Kropatsch, “Model-based classification of painted portraits,” in Pattern Recognition 1996: Proceedings of the 20th O¨AGM Workshop, A. Pinz, ed., OCG Schriftenreihe 90, pp. 237- 250, Oldenbourg Wien, Mu¨nchen, 1996.
    • 5. B. Smith, D. G. Stork, and L. Zhang, “Three-dimensional reconstruction from multiple reflected views within a realist painting: An application to Scott Fraser's Three way vanitas,” in SPIE Electronic imaging: 3D Imaging Metrology, J. A. Beraldin, G. S. Cheok, M. McCarthy, and U. Neuschaefer-Rube, eds., 7239, pp. 72390U1-10, SPIE/IS&T, Bellingham, WA, 2009.
    • 6. O. Aldrian and W. A. P. Smith, “A linear approach to face shape and texture recovery using a 3D morphable model,” in Proc. BMVC, 2010.
    • 7. V. Blanz and T. Vetter, “A morphable model for the synthesis of 3D faces,” in Proc. SIGGRAPH, pp. 187- 194, 1999.
    • 8. O. Aldrian and W. A. P. Smith, “Learning the nature of generalisation errors in a 3D morphable model,” in Proc. ICIP, 2010.
    • 9. P. Paysan, R. Knothe, B. Amberg, S. Romdhani, and T. Vetter, “A 3D face model for pose and illumination invariant face recognition,” in Proc. IEEE Intl. Conf. on Advanced Video and Signal based Surveillance, 2009.
    • 10. L. Farkas, Anthropometry of the Head and Face, Raven Press, New York, 1994.
    • 11. R. O. Duda, P. E. Hart, and D. G. Stork, Pattern classification, John Wiley and Sons, New York, NY, Second ed., 2001.
  • No related research data.
  • Discovered through pilot similarity algorithms. Send us your feedback.

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