Artistic Look Research Articles

Interactive Control over Temporal Consistency while Stylizing Video Streams

AbstractImage stylization has seen significant advancement and widespread interest over the years, leading to the development of a multitude of techniques. Extending these stylization techniques, such as Neural Style Transfer (NST), to videos is often achieved by applying them on a per‐frame basis. However, per‐frame stylization usually lacks temporal consistency, expressed by undesirable flickering artifacts. Most of the existing approaches for enforcing temporal consistency suffer from one or more of the following drawbacks: They (1) are only suitable for a limited range of techniques, (2) do not support online processing as they require the complete video as input, (3) cannot provide consistency for the task of stylization, or (4) do not provide interactive consistency control. Domain‐agnostic techniques for temporal consistency aim to eradicate flickering completely but typically disregard aesthetic aspects. For stylization tasks, however, consistency control is an essential requirement as a certain amount of flickering adds to the artistic look and feel. Moreover, making this control interactive is paramount from a usability perspective. To achieve the above requirements, we propose an approach that stylizes video streams in real‐time at full HD resolutions while providing interactive consistency control. We develop a lite optical‐flow network that operates at 80 Frames per second (FPS) on desktop systems with sufficient accuracy. Further, we employ an adaptive combination of local and global consistency features and enable interactive selection between them. Objective and subjective evaluations demonstrate that our method is superior to state‐of‐the‐art video consistency approaches. maxreimann.github.io/stream‐consistency

An artistic look at the history of Slovenians and their future (on the material of I. Cankar's prose)

In the article discusses the following several key themes in the works of I. Cankar (1876–1918) (primarily in his prose of the early 20th century), giving an idea of his vision of the historical path of the Slovenian people, among them are peasant uprisings, the problem of emigration and the First World War. Another important task of the study is to identify the writer’s ideas about the future of Slovenes, expressed in artistic form, through the components of the Slovenian World Model (SMM), to characterize the features of which two concepts are chosen: road / path and house. The analysis of the prose of the outstanding Slovenian writer, dedicated to the important stages of the historical path of the Slovenian people, as well as the artistic embodiment of the central concepts of the Slovenian model of the world, leads to the conclusion that I. Cankar, based on mythopoetic and religious traditions, was able to express the main ideas that unite the Slovenians and explain them centripetal tendencies, as well as to outline the vector of movement for the future.

КОМПОЗИЦІЙНІ ЧИННИКИ ВПЛИВУ НА ФОРМУВАННЯ МЕДІЙНОСТІ АРХІТЕКТУРИ ТА МІСЬКИХ ПРОСТОРІВ ЛЬВОВА

Lviv has a unique history and architecture. The landscape of the city gives the primary expressive media formation while compositional factors play an important role in its formation. In the architectural space of modern Lviv there is a heritage of different stylistic periods, and we can identify them with their architectural and artistic look. During the centuries architects made sure that the city was perceived as a complete system and its elements were harmoniously connected with each other. Cultural traditions of different times were constantly combined with local landscapes by various forms, textures, scales, colors to ensure the functionality of the space. The media formation of the city broadcasts its cultural value and makes it possible to look at the past from the present and understand it. The article defines the role of such compositional factors of influence on the media formation of architecture and urban spaces as form, proportions and decorations. The research was conducted on examples of historical architecture of Lviv, architecture of the Soviet period and modern architecture of the city. Social values and mentality of different historical periods are important in creating buildings and structures. Conducted analysis allows to find out architecture in Lviv became unified and commercialized after the Soviet period. This trend is also followed in modern architectural design. Despite this, it is worth remembering that society perception of the beauty and harmony of architectural environment is constantly changing so it is necessary to analyze the media formation of architecture from this point of view.

DrozBot: Using Ergodic Control to Draw Portraits

We present <italic xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">drozBot: le robot portraitiste</i> , a robotic system that draws artistic portraits of people. The input images for the portrait are taken interactively by the robot itself. We formulate the problem of drawing portraits as a problem of coverage which is then solved by an ergodic control algorithm to compute the strokes. The ergodic computation of the strokes for the portrait gives an artistic look to them. The specific ergodic control algorithm that we chose is inspired by the heat equation. We employed a 7-axis Franka Emika robot for the physical drawings and used an optimal control strategy to generate joint angle commands. We explain the influence of the different hyperparameters and show the importance of the image processing steps. The attractiveness of the results was evaluated by conducting a survey where we asked the participants to rank the portraits produced by different algorithms.

Editor's Note

Editor's Note Daniel Simon a dark angel flies with a shofar playing his trumpet in flight – Boris Khersonsky Click for larger view View full resolution HOW IS IT possible to think about art during a time of war? Years before the Russian military began the full-scale destruction of the Ukrainian cities of Mariupol, Kharkiv, Kyiv, and many others in February 2022, writers and artists had been raising their voices in defense of freedom and peace. And while Vladimir Putin's ethnonationalist, irredentist campaign to annex Ukraine continues to kill thousands of people, wreak untold destruction, and send millions of refugees into exile, the current "Muses" issue of WLT makes the case for a Republic of Arts and Letters that transcends geopolitical conflicts and promotes a shared sense of humanity through cultural ties. Many of the cultural linkages present in this issue go as far back as Odessa in the late nineteenth century, where the Russian painters Leonid Pasternak (1862–1945) and Wassily Kandinsky (1866–1914) both attended the Grekov Odessa art school. Pasternak's painting of his famous son, Boris beside the Baltic at Mereküla (1910), appears alongside a letter that Boris wrote to a young University of Oklahoma student soon after Pasternak had been awarded the 1958 Nobel Prize in Literature, which, under pressure from Soviet premier Nikita Khrushchev and the Union of Soviet Writers, he declined to accept (page 20). Romanian artist and writer Constantin Severin's poem dedicated to Kandinsky appears alongside the latter's Composition #218 (Two Ovals) (1919). In a note introducing his poem, Severin writes: "Kandinsky inspired me as a symbol of interferences and fusion between music and art, soul and spirit, human and angel, dark history and bright culture" (page 42). A dark gulf looms between history and culture in the present moment, however. A further cultural connection presents itself in the interview with Russian Jewish émigré writer Yelena Lembersky (page 22). Her grandfather, Felix Lembersky (1913–1970), created a series of paintings between 1944 and '52 depicting the murder of more than 33,000 Ukrainian Jews at Babyn Yar in September 1941, "the largest single mass killing by the German army during its campaign against the Soviet Union" (Wolfram Wette). These paintings are the earliest representations of the massacre and among the earliest artistic images of the Holocaust. "Under the Stalinist regime," Lembersky's daughter Galina writes, "my father was offered fame, wealth, position, and endless opportunities to paint [and] exhibit his work," but instead "he refused the grand offer and chose instead poverty, persecution, and deprivation" (lembersky.org). For her part, Galina stood guard on the roof of the Academy of Arts during the Nazi siege of Leningrad (1941–44), armed with a bucket of sand. Back in Kyiv, over the course of the war, more than 100,000 victims of Nazi mass murder died at Babyn Yar during the occupation. On March 1, 2022, when Russian airstrikes killed at least five people at the site of the Babyn Yar Holocaust Memorial Center, Ukrainian president Volodymyr Zelenskyy condemned the attack on Twitter, writing: "What is the point of saying 'never again' for eighty years, if the world stays silent when a bomb drops on the same site of Babyn Yar?" In their just-released verse collection The Country Where Everyone's Name Is Fear, by Odessan writers Lyudmyla and Boris Khersonsky (Lost Horse Press), war pervades the poems like an "angel of destruction" hovering over a landscape where a "black sun of melancholy shines like a shrapnel hole." As editors Katie Farris and Ilya Kaminsky note in their introduction, both poets have switched from Russian to Ukrainian in their recent work, in solidarity with other Ukrainian writers and artists. "Against the backdrop of silent muses heavy gunfire thunders louder," Boris writes in one poem, "and then there's a shank in your ribcage or gunshots at pointblank." In another poem, he imagines an era of "postwar executions" in which "the only justice is the bullet and the rope." Will writers and artists look away while such justice is rendered? Art must bear witness in a time of war as well as its aftermath. And even when they fall...

Laikmetīgā deja: jēdziena definēšanas problēma Latvijā

1996, when dancer and choreographer Olga Žitluhina established her own “Olga Zitluhina Dance Company”, is considered to be the beginning of contemporary dance movement in Latvia. In 1999, upon Olga Žitluhina’s initiative, a Modern Dance Choreography study program was established at the Latvian Academy of Culture (LAC). In 2004, the first full-time dance performance “When the Owl’s Tail Will Blossom...” was staged. Nevertheless, only in 2007, professionals of the dance industry came to a decision that this new genre could be defined as contemporary dance. Development of contemporary dance has been a significant part of wider processes in Latvian contemporary art since the 1990s, as Ieva Astahovska stated, “with languages and strategies, paradigmatically different from the previous ones in the local context, entering it consistently and in a highly principled way” (Astahovska 2010: 14). Since that, contemporary dance has developed from a small group of enthusiasts into a dynamic and diverse professional community. Professionals of the field have studied in LAC, while some of them have also developed their activities within an international context by studying or working abroad, participating in international projects, etc. The common school, of course, helps to define the boundaries of Latvian contemporary dance more clearly. At the same time, contemporary art, and contemporary dance as a part of it, is a synthesis of global and local processes, aesthetics and means of expression of different arts. It is open to different artistic, political, and social processes. Therefore, the concept of contemporary dance is often extended also to amateur art and popular culture. This, in turn, makes professional artists look for alternative concepts and definitions for their research and artistic activities (such as the art of movement, etc.).

The notion of philosophical tendencies and philosophical fiction in contemporary american literature

At the conference with representatives of the country's creative intelligentsia on August 3, 2017, the President of the Republic of Uzbekistan Shavkat Mirziyoyev made a presentation, where he highlighted important facts: “In our country, along with all spheres and industries, great attention is paid to the development of culture, art, literature and the media”. Nowadays, it is necessary to know the literature of the world, thus to broaden the horizon of humanity. The object of research is to identify specific features of the unique genre of philosophical prose on the basis of famous Modern American novels and to explain the notion “philosophical tendency”. Philosophical prose is also a holistic exploration of the world; but the prism through which the artist looks at the world is not a fact, not a phenomenon of literature or arts, but the dynamics of social consciousness, recreated in its individual contradictory forms. Throughout the research work the author displays the major tasks: (1) to study the literary development of American philosophically oriented literature; (2) to study the major concepts of philosophical prose; (3) to reveal the notion philosophical tendencies illustrated in the prominent works of contemporary American writers. The investigation was carried out basing on descriptive and analytical methods, formalistic conceptual and empirical method. According to research findings, the author discloses the idea that Contemporary American literature with philosophical tendencies is a genre under the domination of the society, progress and technology. In addition, the research also categorizes the essential topics and concepts of philosophical novels and defines their distinctive features. The results and conclusions of the research make a sufficient contribution to the development of “Theory of Modern American Literature ”. It allows to be acquainted with variety of definitions and major concepts of contemporary philosophical genre in Literature suggested by different scholars and literary critics. The results of the research can be applicable for writing scientific articles, qualification papers and course works. Partially, the results are expected to be used for the lectures and seminars on the philosophical tendencies of contemporary American literature.

MUSICAL EXPRESSION IN ART PERFORMANCE THROUGH YOUTUBE MEDIA IN THE PANDEMI COVID-19

Recently the covid pandemi virus 19 phenomena occurred in various countries, including Indonesia. This phenomenon has an impact on the limitation of space for artists in expression. Therefore, artists look for other alternatives as a medium of performance art. For example, artists find stage shows through YouTube. Youtube is one of the media to channel and display their work so that many people can watch it. This research uses a descriptive qualitative method and uses a case study approach. Data collection techniques used in this study are observations and interviews with semi-structured techniques. The study results explain that musikal expression in the performing arts through YouTube is an important aspect to attract the audience's attention and get the number of likes and subscribes. The difference in artists' musikal expressions when they perform on youtube compared to being directly seen is more pronounced, mainly when artists are shot closely. In addition, this study shows that youtube media provides an alternative for artists to display their work without the limitation of space for expression and creation.

O COMPUTADOR E A ARTE-EDUCAÇÃO: REFLEXÕES SOBRE OS LIMITES E POTENCIALIDADES

O presente texto, de abordagem hermenêutica, faz uma reflexão sobre os limites e as potencialidades do computador nos processos formativos da arte-educação dos estudantes. Partimos das seguintes problematizações: Quais são os sentidos e percepções dos professores nas experiências pedagógicas da arte-educação com o uso do computador? O computador no cotidiano escolar pode estimular o desenvolvimento de capacidades criativas nos sujeitos ou simplesmente aliená-las?O estudo visa compreender as relações da arte-educação e das formas de ensinar e de aprender por meio do computador, tendo em vista suas potencialidades e as percepções de experiências pedagógicas para o desenvolvimento do conhecimento sensível e singular no mundo. Partimos da hipótese de que o computador é, muitas vezes, tomado sobre uma representação empobrecida e operacionalizada, como algo fabricado para o consumo, o que gera a perda do sentido expressivo, comunicacional e a fugacidade deste instrumento cultural na educação. Por sua vez, quando éestimulado por um olhar artístico e sensível, pode ser (re)criado em novas manifestações socioculturais, produzindo sentidos e experiências estético-formativas no campo da arte-educação. Concluímos que o computador é uma construção humana com potencial para a promoção da criação criativa e de novas sensibilidades no campo da arte-educação, que pode causar rupturas em modelagens educacionais pelas próprias transformações que é capaz de engendrar nas práticas pedagógicas.

ВЛИЯНИЕ ПРОИЗВЕДЕНИЙ В.О. ШЕРВУДА НА ФОРМИРОВАНИЕ "КИРПИЧНОГО СТИЛЯ" В РОСТОВЕ-НА-ДОНУ

The most important component of the architectural and artistic look of the historical part of Rostov-on-Don is the constructions built in «brick style». In the last quarter of the XIX century, some unique and significant public buildings were built in the “brick style”. The object of this research is "brick style" architecture in Rostov-on-Don. The following methods used: full-scale and archival research, comparative analysis, analogy method. The most striking example of the style is the building of the Asmolov Theater built on Taganrogsky Avenue according to the project of the famous Moscow architect V. O. Sherwood. He was the expert of pre-Peter architecture and designed the theater building in the forms of pseudo-Russian style which was unique for Rostov. The construction of the Asmolov Theater stimulated the spread of stylized forms of ancient Russian architecture. The article is devoted to the history of construction, architectural, stylistic and spatial planning characteristics of the Asmolov Theater as well as determining its place in the work of V. O. Sherwood and its role for the «brick style» in the architecture of Rostov-on-Don. The buildings for which the Asmolov Theater became a model are considered.

ОСОБЛИВОСТІ ФОРМУВАННЯ МОРСЬКОГО ФАСАДУ МІСТА ОДЕСИ

The article considers the problems of the formation of the marine facade of the city of Odessa. Based on this, the world experience in the formation of marine facades of the most vibrant coastal cities was studied. It turned out that one of the features of the perception of the city is its panorama and silhouette, where the panorama is a view of the city, and the silhouette is a vertical outline designation of the city. In coastal cities, the formation of an artistic look takes place from the sea and the city, that is, the silhouette and panorama of the city are not only its individual visual feature, but also its hallmark in the field of tourism development. The most responsible and impressive should be the architectural appearance of the city from the sea. Panoramas with views of the building and water, bridges, natural landscape and coastal architectural ensembles open along the water areas. Thus, the coastal territories of the city of Odessa were analyzed in terms of the silhouette of the city from the sea. As a result, it is clear that the silhouette is monotonous and boring, its only feature is port facilities, and the visual perception of Odessa from the sea is not noticeable and cannot compete with other coastal cities of the world, which helps to pay special attention to its coastal territories. To determine the basic principles of the formation of the marine facade of the city of Odessa, the scientific work of Odessa scientists, as well as options for experimental design, were considered. The considered project proposals were based on the creation of a unique marine silhouette of the city of Odessa, as well as the development of tourist and recreational functions on the lands of the water fund. Despite interesting decisions, this entails enormous economic costs and foreign investment. Therefore, the creation of an architectural and compositional solution to the marine facade of the city is possible due to undeveloped coastal recreational zones and depressed economic territories, which is economically beneficial and relevant. Based on the principles that must be taken into account when designing on the coast, it can be concluded that coastal territories can become the dominant objects at the heart of the silhouette of the city. Economic territories that are located far from the coastal zone can be background highrise objects when forming the panorama of Odessa.

По следам контекстов грузинской поэмы Возрождения (Шота Руставели в Иерусалиме)

In world literature, Shota Rustaveli is known as a poet of the Renaissance. He brilliantly portrayed free-thinking, spiritually and physically perfect epic characters in the poem "The Knight in the Panther's Skin". An original artistic look, a broad outlook, surprise with the breadth of scale: "The Knight in the Panther's Skin" expresses the new humanistic ideals of the great period. As a Georgian literary monument of verbal art, Rustaveli's poem precedes the works of the European Renaissance. These creative processes, different in time of writing and from different geographic regions, developed independently of each other.

Багательний стиль В. Сильвестрова в контексті ґенези жанру багателі в українській музиці

Research objective is the analysis of the bagatelle style of the V. Silvestrov in the panorama of the basic trends of development of the bagatelle in Ukrainian music in the aspect of individual-compositional interpretation of the genre. The methodology of the research is based on the unity of various relevant methods: the approaches of historical musicology, comparative and system methods, elements of genre and style analysis. The scientific novelty – The article for the first time presents a panorama of the bagatelle genre in the works of Ukrainian composers from the first third of the nineteenth century to the present days. Conclusions. In Ukrainian music we observe a wide range of creative reading of the bagatelle genre in accordance with the author’s style – from the traditional “easy” (or even didactic) miniature to the whole universe, embodied in a small form, in the legacy of V. Silvestrov. Bagatelles of the Ukrainian composers are presented in various modifications – as individual plays, cycles or their parts (including as one of the numbers of the ballet). Side by side with piano bagatelle, there are also exist works for chamber ensemble and string orchestra, as well as bagatelle performances. However, most of the examples of the bagatelle of Ukrainian authors remain within the traditional interpretation of the genre as a small, easy to perform play, most composers turn to the genre of bagatelle rather sporadically, without building a special concept around it. For Silvestrov, the bagatelle becomes a kind of lens through which the artist looks at the world, and bagatelle principle (“bagatellity”) becames an expression of a certain way of thinking, the basis of style, the features of which are embodied not only in the bagatelle themselves, but also extrapolated to other genres. Sylvester bagatelle is a bagatelle in the highest sense, which is far from “trifles”, goes beyond the usual understanding of the genre, becomes, according to the author himself, the “grain of music”, the embodiment of Platonic ideas, acquires the features of a meta genre. The samples of the bagatelle genre in Ukrainian music considered in this publication need a more systematic analysis in the future, one of the tasks of which may be to outline the typology of Ukrainian bagatelle.

Isao Takahata : Inspiring Visual Styles of Japanese Film &amp; Anime Aesthetics

The Tale of Princess Kaguya is an adaptation from The Tale of the Bamboo Cutter, a classical Japanese folktale, directed by Isao Takahata in Studio Ghibli productions. Isao Takahata is a director who has long been overlook by his longtime colleague and Studio Ghibli co-founder Hayao Miyazaki. The purpose of research about cinematography techniques or style of Isao Takahata animated film in The Tale of Princess Kaguya. The Princess Kaguya animated film is like an old Japanese painting that is similar to traditional sumi-e. The focus of this research will look into several aspects such as impressionistic style and the character design in Princess Kaguya animated film. Impressionistic art is an art style when an artist looks into situation or things with a short glimpse and paint it back using bright and vibrant colors. Most of the pictures are outdoor scenes. The concept character of Princess Kaguya created with amazing work of art using hand-drawn animation to new heights of fluidness.

Creative achievements of Hryhoriy Dozhenka as Ukrainian artistic heritage of the twentieth century

This article is about the artistic legacy of the famous monumental artist Grigory Avksentievich Dovzhenko, who lived and worked in the difficult and contradictory times of Ukrainian history and yet managed to preserve the identity of our culture in his works, perpetuate its signs in paintings, murals, mosaics, «Stone embroidered shirts». Studying local history, preserving cultural heritage sites, popularizing the historical past contributes to the formation of national and local identities, and gives impetus to the development of local communities. It is the community, its past, its distinctive identity, that is becoming the determining factor today, especially in the light of the processes of decentralization and preservation of the memory of generations. Life fate and creative heritage of G. Dovzhenko, a famous Ukrainian monumental artist, who devoted almost six decades to art. Each of his thoughts, every sketch, drawing, portrait, panel, still life is a continuation of eternal life, preservation of family memory. His creative heritage enriches today's and future generations. It must be remembered that the culture of every nation belongs to humanity, and our holy duty is to honor our cultural lights, be proud of them and popularize them, otherwise our awareness of ourselves as a nation will be impossible. Also during this period G. Dovzhenko addresses the topics of the national past. This is how the mosaic and fresco images of the times of Kievan Rus and Khmelnytskyi appear. Among the works of these years, the mosaic composition «Kiy, Schek, Choriv and their sister Lybid» is distinguished on the facade of the cinema «Rovesnik» in Kiev (1971), in which the artist managed to show the opto-color possibilities of smalt - the favorite material of ancient Ukrainian masters. G. Dovzhenko also portrays still lifes - bouquets of flowers in jugs, bread, fruits. But most often he paints flowering or covered with abundant fruit tree branches. These peculiar fragments of natural motifs are depicted by harmonious patterns on the canvas. G. Dovzhenko's artistic look reveals the organization of the subject world. The artist is constantly studying the laws and interconnections of natural forms. Hundreds of sketches of flowers and plants are of value to the attentive and skillful reproduction of form and color, the identification of logical structural conditionality of the structure, they are extremely interesting and further stylization, processing into decorative elements. This is a rare case in the practice of contemporary artists, when the artist does not use secondary material, but seeks to find and understand the laws of rhythm and symmetry, color plastics and structure. G. Dovzhenko in his work sought to embody a sense of gratitude for life. The artist was constantly experimenting, looking for different solutions of mosaic panels, based on the use of the best ancient traditions.

"Matisse/Diebenkorn" At the Baltimore Museum of Art

"Matisse/Diebenkorn" At the Baltimore Museum of Art Karen Wilkin (bio) As Pablo Picasso supposedly said, "Good artists copy; great artists steal." Whether he said it or not, the observation seems to account for his complex relationship with the painters he revered or felt threatened by, a list that includes Eugène Delacroix, Jean-Auguste-Dominique Ingres, and Diego Velázquez, among others, artists whose most celebrated images served Picasso as a springboard for reinvention, improvisation, and even parody. These days, it's probably necessary to say that Picasso's neat phrase has nothing to do with postmodernism's irony-laced appropriation, which treats the entire history of art as a grab bag from which things can be claimed randomly, to be replicated at will. Instead, the aphorism is a shorthand reminder that art is usually about—among many other things—other art. (The polymath critic/art historian/novelist André Malraux even maintained that artists become artists because they are more impressed, at a formative age, by works of art than by the actuality those works refer to.) For centuries, the efforts of even the most original, inventive painters and sculptors, including Picasso himself, signaled, deliberately or in spite of themselves, their admiration for other artists or revealed how much they had learned from their chosen ancestors. Sometimes the connection is easily recognizable; think of Edouard Manet's repeated versions of the execution of Maximilian I—intensely personal paintings, utterly characteristic of their author, but obviously filtered through his reverence for Francisco Goya's The Third of May, 1808. Sometimes, the work that served as a trigger persists as an overtone, evidence of a fruitful affinity that provides testimony to how [End Page 568] artists look at art not of their own making. The hovering, transparent planes of Picasso's and Georges Braque's Cubist still lifes, for example, have their origins in Paul Cézanne's translation of his perceptions into disjunctive touches of paint, just as Helen Frankenthaler's fluid pools and stains of radiant color are departures from Jackson Pollock's pours. Both the unstable planes and the spreading floods offer hints of what Picasso and Braque gleaned from Cézanne and what Frankenthaler saw in Pollock. If we pay attention to these revelations, we can end up considering the work of both the generating artists and the painters or sculptors they influenced in new ways. Case in point: the recent exhibition "Matisse/Diebenkorn," seen at the Baltimore Museum of Art and the San Francisco Museum of Modern Art, which focused on the varied responses, from the early 1950s through 1980, of an aesthetically ambitious American artist to the work of the French modernist master of eloquent, space-evoking shape and color. After seeing the show, we might forever think differently about both of its protagonists. An impressive selection of paintings and works on paper allowed us to discover similarities, connections, and differences between the works of the two men. The conversation was, of necessity, one sided. Henri Matisse (1869–1954) was almost certainly unaware of the work of the San Francisco-based Richard Diebenkorn (1922–1993), so the exhibition was essentially an attempt to see Matisse through Diebenkorn's eyes. We were encouraged to speculate about the possible sources of compositions and color relationships that, in another context, would have seemed wholly characteristic of Diebenkorn, which raised interesting questions. Were the connections we noted conscious homage or straightforward efforts to understand Matisse's achievement through emulation? Were they inadvertent signs of deep affinity and admiration? Did Matisse's example simply give his American "disciple" permission to explore a particular direction? Or was it all of the above? That Diebenkorn found Matisse's art especially stimulating has always been evident to anyone who looked attentively at his work, but [End Page 569] the relationship was made explicit by the exhibition's thoughtful selection of both artists' paintings and works on paper. In the installation at the Baltimore Museum of Art, Diebenkorn's scrupulous attention to Matisse was manifest, but so was his individuality. Seen together with a group of Matisse's searching, layered charcoal drawings of the figure, the generous, incisive strokes and pools of wash with...

Multilevel Color Transfer on Images for Providing an Artistic Sight of the World

This paper represents a twofold approach. On the one hand, we introduce a simple method that encompasses an ensemble of image processing algorithms with a multilevel color transfer approach at its core. On the other hand, the method is applied for providing an artistic look to standard images. The approach proposes a multilevel color transfer in a chromatic channel of the CIELAB color space. Once converted from red, green and blue, a specific channel on both images, input and target (reference), is thresholded in a number of levels. Later, the color transfer is performed between regions from corresponding levels using a classical color transfer method. In the application phase, the color palette of a recognized artwork of the Fauve movement is mapped to the input image, emulating the sight of the artist, characterized by the use of vivid colors. Filtering techniques are applied to the outcome, in order to emulate the basic brushstrokes of the artist. Experimental results are shown, visualizing and comparing the input images with the outcomes.

Previously Undocumented Art Criticism by Walt Whitman

Whitman's Letters from a traveLLing BacheLor, written for the New York Sunday Dispatch (October 14, 1849, through January 6, 1850) are well known, as is his practice of contributing news about Brooklyn and Brooklyn artists to the Dispatch as well as to other newspapers like the Evening Post.1 But his extended description of a painting by Jesse Talbot, Encampment of the the Evening Post (Encampment of the Caravan, April 29, 1851; p. 1), and his critique of the National Academy of Design annual exhibition the Dispatch of the following year (An Hour at the Academy of Design, April 25, 1852; p. 2), as well as the response the latter generated, have not been cited or described. These articles point to an additional source for Whitman's interest Egypt and the Orient, and to his eventual disenchantment with institutions for elevating popular taste art.The Sunday Dispatch (1845-1861) was an inexpensive (3 cents until 1854, then 4 cents) weekly edited by Amor J. Williamson and William Burns (with a third partner, Watson, as co-proprietor), who had also partnered to edit the Weekly Universe (1847-1852). The Universe described itself as A Cosmopolitan Hebdomadal, only $1 a year, Devoted to Literature, Science, Arts, History, Biography, Anecdotes, Amusements, Adventures; and Intelligence, Metropolitan, National and Cosmopolitan. Its Whitmanesque motto was No Pent-Up Continent Contracts our Powers; But the Whole Boundless Universe is Ours. When Burns died on June 23, 1850, Williamson continued editing both papers, though he eventually dropped the Universe.2 Anson Herrick, founder of the Atlas, the grandfather of the Sunday papers, his history of the Sunday press, noted that Burns had worked for him, as had Whitman (briefly, at the Aurora), Louis Tasistro (the Dispatch praised Tasistro, and Whitman would later solicit money for him), and several of the editors of the Sunday Mercury.3 Herrick, a Democrat with freesoil sympathies, disapproved of the turn Amor J. Williamson's politics had taken-Williamson was an active W hig by 1852.In the opening issue of the Dispatch, the editors, after pointing out that each of them was over six feet tall, introduced their editorial policy. Whereas party (partisan) editors look at political documents as party artists look at a picture, in different lights, with amusingly absurd results, the Dispatch argued that there is a true light which to survey pictures and political messages-the light of nationality and progressive democracy.4 They reproduce that same month an excerpt from author Cornelius Mathews' speech on Young America, which he describes Young Americans as the first race (generation) of republicans birth, origin, education, and experience, making each man some sense the Republic himself. By 1848, they announce that we are radical the extremest degree, working for something better than this vaunted civilization.5 The Dispatch supported free public baths and land reform, published Bryant poems, admired Kossuth and Garibaldi, was sympathetic to the filibusters like William Walker, got involved a libel case with James Gordon Bennett of the Herald, hated Fernando Wood, and was critical of laws restricting business on Sundays.6In regards to art, by 1849 the Dispatch was increasingly dismissive of the American Art-Union-an organization to promote the arts headed for many years by William Cullen Br yant but mostly governed by Whig merchants-as an institution of privilege. The editors pointed out, for example, that the Art-Union's annual lottery of paintings was permitted by the legislature, while small lottery offices catering to the poor were raided by the police. Furthermore, they argued that a clique of artists-cliques being consonant with undeserved privilege-controlled the men who ran the Art-Union, and so biased its patronage. Other anecdotes imply that the Art-Union gallery was a place for romantic trysts. Similarly, the Dispatch vigorously attacked the American Institute, which annually exhibited the mechanical arts and had a similar structure-it was run by Whig manufacturing interests rather than by the mechanics it was supposedly benefitting. …

QR Codes and library bibliographic records

Purpose – The purpose of this paper is to explore methods of producing Quick Response (QR) Code, its customization, artistic look and applications and elaborate the technique of generating QR Code for library bibliographic records. Design/methodology/approach – Through literature review, the study explored methods of generating QR Code and its applications in academic libraries. Based on research work and implementation experience, an efficient procedure for generating QR Code for bibliographic records was developed. Findings – The study identified methods of generating QR Code, its customization and applications, and established the technique of generating QR Code for library bibliographic records. Originality/value – The study is expected to facilitate the growth of QR Code’s visibility and success, and its mainstream adoption. The technique of generating QR Code for library bibliographic records in the study should be instructive for similar projects.

AutoStyle: Automatic Style Transfer from Image Collections to Users' Images

AbstractStylizing photos, to give them an antique or artistic look, has become popular in recent years. The available stylization filters, however, are usually created manually by artists, resulting in a narrow set of choices. Moreover, it can be difficult for the user to select a desired filter, since the filters’ names often do not convey their functions. We investigate an approach to photo filtering in which the user provides one or more keywords, and the desired style is defined by the set of images returned by searching the web for those keywords. Our method clusters the returned images, allows the user to select a cluster, then stylizes the user's photos by transferring vignetting, color, and local contrast from that cluster. This approach vastly expands the range of available styles, and gives each filter a meaningful name by default. We demonstrate that our method is able to robustly transfer a wide range of styles from image collections to users’ photos.