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首页> 外文会议>Vision Geometry XV; Proceedings of SPIE-The International Society for Optical Engineering; vol.6499; Electronic Imaging Science and Technology >Fidelity analysis of mechanically aided copying/enlarging of Jan van Eyck's Portrait of Nice old Albergati
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Fidelity analysis of mechanically aided copying/enlarging of Jan van Eyck's Portrait of Nice old Albergati

机译：机械辅助复制/放大扬·范·艾克的《尼斯老阿尔伯格蒂肖像》的逼真度分析

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The contemporary artist David Hockney has hypothesized that some early Renaissance painters secretly projected optical images onto their supports (canvas, paper, oak panel,...), directly traced these projections, and then filled in the tracings with paint. Hockney has presented somewhat impressionistic image evidence for this claim, but he and thin-film physicist Charles Falco also point to perspective anomalies, to the fidelity of passages in certain paintings, and to historical documents in search of support for this direct tracing claim. Key visual evidence adduced in support of this tracing claim is a pair of portraits by Jan van Eyck of Cardinal Niccolo Albergati—a small informal silverpoint study of 1431 and a slightly larger formal work in oil on panel of 1432. The contours in these two works bear striking resemblance in shape (after being appropriately scaled) and there are at least two "relative shifts" —passages that coalign well after a spatial shift of one of the images. This evidence has led the theory's proponents to claim that van Eyck copied the silverpoint by means of an optical projector, or epidiascope, the relative shifts due to him accidentally bumping the setup during the copying. Previous tests of the tracing theory for these works considered four candidate methods van Eyck might have used to copied and enlarged the image in the silverpoint study: unaided ("by eye"), mechanical, grid, and the optical projection method itself. Based on the full evidence, including the recent discovery of tiny pinprick holes in the silverpoint, re-enactments, material culture and optical knowledge in the early 15th century, the mechanical method was judged most plausible and optical method the least plausible. However, this earlier work did not adequately test whether a trained artist could "re-enact" the copying by mechanical methods: "Although we have not explicitly verified that high fidelities can be achieved through the use of a Reductionszirkel (or compass, protractor and ruler), there are no significant challenges in this regard". Our work here seeks to complete the test of the direct tracing claim. As we shall see, a talented realist artist can indeed achieve fidelity comparable to that found in van Eyck s works, a result that re-affirms the earlier conclusion that when copying and enlarging the silverpoint image, it is more likely that van Eyck used a well-known, simple, mechanical method than a then unknown, secret and complicated optical method.
机译：当代艺术家戴维·霍克尼（David Hockney）曾假设一些早期文艺复兴时期的画家秘密地将光学图像投射到其支撑物上（画布，纸张，橡木板等），直接绘制出这些投影，然后在描迹中填充颜料。霍克尼（Hockney）为这一主张提供了某种印象派的图像证据，但他和薄膜物理学家查尔斯·法尔科（Charles Falco）也指出透视异常，某些画作的忠实度以及历史文献以寻求对这种直接追寻主张的支持。证明这一追迹主张的关键视觉证据是红衣主教尼科洛·阿尔贝加蒂（Niccolo Albergati）的扬·凡·埃克（Jan van Eyck）的一对肖像，这是对1431年的非正式非正式银点研究，以及1432年的小组中稍大的石油正式作品。这两幅作品的轮廓在形状上具有惊人的相似性（在适当缩放后），并且至少有两个“相对位移”，这些通道在其中一张图像发生空间位移后会很好地对齐。这一证据使该理论的支持者声称，范·埃克通过光学投影仪或流行病镜复制了银点，由于他在复制过程中意外碰撞了设置而导致了相对移动。对于这些作品的跟踪理论的先前测试考虑了van Eyck在Silverpoint研究中可能使用的四种候选方法来复制和放大图像：无辅助（“目测”），机械，网格和光学投影方法本身。根据充分的证据，包括最近在15世纪初发现的银点上的细小针孔，重演，物质文化和光学知识，机械方法被认为最合理，光学方法被认为最少。但是，这项较早的工作并未充分测试受过训练的艺术家是否可以通过机械方法“复制”复制品：“尽管我们还没有明确证实通过使用Reductionszirkel（或指南针，量角器和统治者），在这方面没有重大挑战”。我们在这里的工作旨在完成对直接跟踪声明的测试。正如我们将看到的那样，才华横溢的写实画家确实可以实现与范艾克作品中的保真度相当的结果，这一结果再次证实了先前的结论，即复制和放大银点图像时，范艾克更有可能使用众所周知，简单，机械的方法要比当时未知，秘密和复杂的光学方法好。

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