Color constancy of color reproductions in art paintings
Autor(a) principal: | |
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Data de Publicação: | 2018 |
Outros Autores: | , |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | https://hdl.handle.net/1822/54201 |
Resumo: | Popular color reproductions of art paintings such as postcards are intended to remind viewers of the original works. It is, however, unclear how well the quality of the reproductions is preserved under various illuminations. Color constancy of the reproductions in relation to colors in the original paintings was estimated computationally with hyperspectral images of 15th-century Flemish paintings, 20th-century modern abstract paintings, and their corresponding postcards with a series of illuminants: the CIE daylight D65 with correlated color temperature (CCT) 6500 K, daylight D40, fluorescent lamps F2 and F11, and a LED lamp designed for museums with CCT approximately 3500–4000 K. Despite large colorimetric differences between the types of art paintings and between the illuminants simulated, local areas showed good color constancy: skin areas in the Flemish paintings ranged from 0.76 to 0.81, whereas nonskin areas ranged from 0.19 to 0.68. This result suggests that viewers may be able to achieve color constancy with the reproduction postcards by disregarding inconsistent colors representations from the original paintings caused by changes in illumination conditions. |
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Color constancy of color reproductions in art paintingsScience & TechnologyPopular color reproductions of art paintings such as postcards are intended to remind viewers of the original works. It is, however, unclear how well the quality of the reproductions is preserved under various illuminations. Color constancy of the reproductions in relation to colors in the original paintings was estimated computationally with hyperspectral images of 15th-century Flemish paintings, 20th-century modern abstract paintings, and their corresponding postcards with a series of illuminants: the CIE daylight D65 with correlated color temperature (CCT) 6500 K, daylight D40, fluorescent lamps F2 and F11, and a LED lamp designed for museums with CCT approximately 3500–4000 K. Despite large colorimetric differences between the types of art paintings and between the illuminants simulated, local areas showed good color constancy: skin areas in the Flemish paintings ranged from 0.76 to 0.81, whereas nonskin areas ranged from 0.19 to 0.68. This result suggests that viewers may be able to achieve color constancy with the reproduction postcards by disregarding inconsistent colors representations from the original paintings caused by changes in illumination conditions.European Cooperation in Science and Technology (COST), Action TD1201, Colour and Space in Cultural Heritage (COSCH): Short Term Scientific Missions (COST-STSM-TD1201-14213).info:eu-repo/semantics/publishedVersionThe Optical SocietyUniversidade do MinhoAmano, KinjiroLinhares, João M. M.Nascimento, Sérgio M. C.20182018-01-01T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://hdl.handle.net/1822/54201engAmano, K., Linhares, J. M. M., & Nascimento, S. M. C. (2018, March 29). Color constancy of color reproductions in art paintings. Journal of the Optical Society of America A. The Optical Society. http://doi.org/10.1364/josaa.35.00b3241084-752910.1364/JOSAA.35.00B32429603961info:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2023-07-21T12:21:08Zoai:repositorium.sdum.uminho.pt:1822/54201Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T19:14:20.339585Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Color constancy of color reproductions in art paintings |
title |
Color constancy of color reproductions in art paintings |
spellingShingle |
Color constancy of color reproductions in art paintings Amano, Kinjiro Science & Technology |
title_short |
Color constancy of color reproductions in art paintings |
title_full |
Color constancy of color reproductions in art paintings |
title_fullStr |
Color constancy of color reproductions in art paintings |
title_full_unstemmed |
Color constancy of color reproductions in art paintings |
title_sort |
Color constancy of color reproductions in art paintings |
author |
Amano, Kinjiro |
author_facet |
Amano, Kinjiro Linhares, João M. M. Nascimento, Sérgio M. C. |
author_role |
author |
author2 |
Linhares, João M. M. Nascimento, Sérgio M. C. |
author2_role |
author author |
dc.contributor.none.fl_str_mv |
Universidade do Minho |
dc.contributor.author.fl_str_mv |
Amano, Kinjiro Linhares, João M. M. Nascimento, Sérgio M. C. |
dc.subject.por.fl_str_mv |
Science & Technology |
topic |
Science & Technology |
description |
Popular color reproductions of art paintings such as postcards are intended to remind viewers of the original works. It is, however, unclear how well the quality of the reproductions is preserved under various illuminations. Color constancy of the reproductions in relation to colors in the original paintings was estimated computationally with hyperspectral images of 15th-century Flemish paintings, 20th-century modern abstract paintings, and their corresponding postcards with a series of illuminants: the CIE daylight D65 with correlated color temperature (CCT) 6500 K, daylight D40, fluorescent lamps F2 and F11, and a LED lamp designed for museums with CCT approximately 3500–4000 K. Despite large colorimetric differences between the types of art paintings and between the illuminants simulated, local areas showed good color constancy: skin areas in the Flemish paintings ranged from 0.76 to 0.81, whereas nonskin areas ranged from 0.19 to 0.68. This result suggests that viewers may be able to achieve color constancy with the reproduction postcards by disregarding inconsistent colors representations from the original paintings caused by changes in illumination conditions. |
publishDate |
2018 |
dc.date.none.fl_str_mv |
2018 2018-01-01T00:00:00Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://hdl.handle.net/1822/54201 |
url |
https://hdl.handle.net/1822/54201 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
Amano, K., Linhares, J. M. M., & Nascimento, S. M. C. (2018, March 29). Color constancy of color reproductions in art paintings. Journal of the Optical Society of America A. The Optical Society. http://doi.org/10.1364/josaa.35.00b324 1084-7529 10.1364/JOSAA.35.00B324 29603961 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
The Optical Society |
publisher.none.fl_str_mv |
The Optical Society |
dc.source.none.fl_str_mv |
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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RCAAP |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
repository.name.fl_str_mv |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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1799132585557753856 |