The pods can leave their mark on oil paintings, where wear and natural aging produces cracks, changed color and spots in which the pigment pieces were cut.
The repair of damage may take the years of conservatives, and therefore the voltage is dedicated to the most valuable works, but the new approach is to transform the process by restoring the artistic works of the elderly in hours.
This technique depends on artificial intelligence and other computer tools to create a digital reconstruction of the damaged plate. Then this is printed on a transparent polymer sheet that is carefully applied to work.
To show this technique, Alex Cachene, a high school researcher at the Massachusetts Institute of Technology, restored damaged works on the oil panel attributed to Sayyid Prado, a Dutch painter who lost his name, as a message in the late fifteenth century after Martin Shongour.
The painting is very detailed, but it is clearly divided into four panels, covered with numerous cracks and spread in thousands of small spots where the paint fell.
“There are a lot of damage to small and complex features,” said Kashkin, who estimated that it would take about 200 hours to restore the painting with traditional memorization techniques. “He underwent centuries to deteriorate.”
Kachkine started examining the plate to determine the size, shape and location of the damaged areas. Select this 5,612 separate sections you need to fix.
Then a digital mask was built in Adobe Photoshop. To restore missing stains from the paint, the stains have been added and the colors match the surrounding dyes. The damage to the decorative areas was corrected by copying similar patterns from another place in the painting. The lost face of the infant was copied from another work by the same artist.
Once finished, the mask was printed on the polymer sheet, outperformed the ink from running and overlapping the plate.
In total, 57314 colors were used to stimulate damaged areas. The corrections are designed to improve the painting, even if it is not perfect alignment.
When seeing the result, Kachkine was pleased. “This was followed by years of effort to try to run the method,” he said. “There was little relief that this method in the end was able to rebuild and sew the remaining parts of the painting.”
Approach, DescribedIt can only be used on various panels that are smooth enough to lie down the paper. The mask can be peeled or removed using the solids of conservatives, and does not leave any effects on the original artwork.
Kachkine hopes that the method will allow the exhibition to restore and display dozens of damaged plates that are not valuable enough to ensure traditional restoration.
But he admits the existence of moral problems that must be taken into account, such as whether the presence of a movie covers an acceptable matter, whether it impedes the experience of viewing, and whether it is certain corrections, such as the copies features, suitable.
In the accompanying article, Professor Hartmot Kotzki at the Museum of Cultural History at the University of Oslo said that the approach provides a way to restore damaged paintings faster and more licensed than it was possible with traditional techniques.
He said: “This method is likely to be more applicable to panels of relatively low value that can be harvested behind closed doors, and it may not be suitable for famous and valuable artworks.” “However, public access to art may expand, which leads to the removal of damaged paintings from storage and in front of a new audience.”
