A book of 1000 paintings and illustrations of robots created by artificial intelligence. The author generated all of the images in this book by writing original prompts for DALLΒ·E 2, OpenAIβs AI system that can create realistic images and art from a description in natural language. Upon generating the images, the author curated and arranged the images to their own liking and takes ultimate responsibility for the content of this publication.
https://openai.com/dall-e-2/
https://github.com/CompVis/latent-diffusion
https://huggingface.co/spaces/multimodalart/latentdiffusion
https://mirror.xyz/0x0f6712c6ac4f02f47cA8b5cf200B224aE6fD8B69/AYLAsdtM090nHWpvWQ13exkaJoNyllkhxa9ffEUPOrg
The Digital Curator application allows you to explore the art collections of Central European museums and search for artworks based on specific motifs.
Users of the application can build their combination of objects and reveal how often the subject has occurred across the centuries, view graphics, drawings, or paintings that represent it in different epochs, and compare data with other themes.
The Digital Curator offers a quantitative view of cultural history based on the frequency of symbols and iconographic themes in many artifacts, not on a detailed observation of individual items. This distant viewing can be especially useful if our interest is aimed at exploring a genre, rather than a specific work, to understand the overall social conditions, rather than the life of a particular artist, or to interpret the overall political situation, rather than the views of the selected author. Exploring big cultural-historical data may bring new insights into abstract social phenomena such as cultural and economic influence, canon issues, the relationship between the center and the periphery, or the functioning of the art market. It can also help us better observe the migration of motifs and their takeover across centuries and distant regions.
The Digital Curator database now contains 196 116 works from the collections of 91 museums from Austria, Bavaria, the Czech Republic, and Slovakia. 71 410 of these works are available under an open license, so it is possible to view them online. Other works are used only as a basis for statistics, presenting the frequency of occurrence of motifs. The AI ββlibrary for machine learning TensorFlow and the computer service Google Cloud including the tool Google Cloud Vision were used for the automatic detection of the depicted motifs. Data search and storage is performed using the ElasticSearch database and the operation of the application is provided by the Google App Engine service.
Implementation was carried out with the kind support of the UMPRUM, Academy of Arts, Architecture and Design in Prague , the Ministry of Education of the Czech Republic the Slovak National Gallery, and the BlueGhost digital agency. Thanks also go to many museums that made it possible to use their digitized collections, and to Richard Prajer, Radim HaΕ‘ek, and Eva Ε kvΓ‘rovΓ‘ who helped with the development of the application and the preparation of the database.
The project was designed by Lukas Pilka in 2019-22.
https://www.atlasofplaces.com/research/infrastructure-patterns-i/
https://www.atlasofplaces.com/research/infrastructure-patterns-vii/
Atlas of Places is a public educational collection of Academia, Architecture, Cartography, Cinema, Essays, Painting, Photography and Research. Its objective is to question the meaning of places. It is curated according to continuously evolving philosophical, social and cultural beliefs. This is merely an occasional collection. Some works date from 1230, some from the recent past, some from the present. They have this characteristic in common that they are outlooks, in the truest sense of the word. In them will be found little more than the intention of clarifying a few ideas that might really be called political if that fine word, so attractive and exciting to the mind, did not arouse today so many great scruples and great repugnance.
Atlas of Places simply wishes to make a little clearer to itself the notions that it has received from others or that, like others, it has formed for itself β notions that everyone uses for thinking about human groups, their relations and difficulties with one another. The effort to clarify such matters is assuredly not the business of those men who practice or mix in them. This collection is the work of an amateur.
Atlas of Places is dedicated to those persons who have no system and belong to no party and are therefore still free to doubt whatever is doubtful and to maintain what is not.
Atlas of Places is curated day by day, the works shared do not pretend to show any organic development: the link between them is rather one of insistence and repetition. For while one doesnβt know whether things which are repeated are pleasing, oneβs belief is that they are significant. And what is sought throughout this collection are significant features.
Atlas of Places produces cartography, satellite imagery and orthoimagery for exhibitions, editorial projects and various other mediums. This continuous production appears in the Research collection. If you wish to collaborate, please scroll down to the βCollaborationβ section below.
Atlas of Places originated in the PyrΓ©nΓ©es-Orientales during the summer of 2015 and is edited by Thomas Paturet.
The Collections database consists of entries for more than 480,000 works in the Musée du Louvre and Musée National Eugène-Delacroix. Updated on a daily basis, it is the result of the continuous research and documentation efforts carried out by teams of experts from both museums.
The visualization shows the most used colors of 50 artists. Each artist has their individual color footprint. The shown colors are aggregated and size doesn't represent the actual usage of the particular color by the artist to reduce the complexity inside the application.
You can select each color to find related colors β ones that the artist often used together with that color or other artists frequently used together with that color. If you like a color, you can copy the tone or add it to a collection and export it later.
ComboGAN: Unrestrained Scalability for Image Domain Translation Asha Anoosheh, Eirikur Augustsson, Radu Timofte, Luc van Gool In Arxiv, 2017.
https://arxiv.org/pdf/1712.06909.pdf
This year alone has seen unprecedented leaps in the area of learning-based image translation, namely CycleGAN, by Zhuet al. But experiments so far have been tailored to merely two domains at a time, and scaling them to more would re-quire an quadratic number of models to be trained. And with two-domain models taking days to train on current hardware,the number of domains quickly becomes limited by the time and resources required to process them. In this paper, we pro-pose a multi-component image translation model and training scheme which scales linearly - both in resource consumption and time required - with the number of domains. We demonstrate its capabilities on a dataset of paintings by 14different artists and on images of the four different seasons in the Alps. Note that 14 data groups would need(14choose2) =91 different CycleGAN models: a total of 182 genera-tor/discriminator pairs; whereas our model requires only 14generator/discriminator pairs
UNIT: UNsupervised Image-to-image Translation Networks : https://github.com/mingyuliutw/UNIT
With Multipaint, you can draw pictures with the color limitations of some typical 8-bit computer platforms. The screen formats supported are Commodore 64 high resolution, Commodore 64 multicolor, Commodore Plus/4 Hires, Commodore Plus/4 multicolor, ZX Spectrum, MSX 1 and Amstrad CPC0.
Multipaint features common drawing tools, color clash emulation, cut brushes, dither patterns, grid / snap, 20-step undo, spare page, magnify modes, direct executable export, export as source, import/export in native formats and much more.
Copying an element from a photo and pasting it into a painting is a challenging task. Applying photo compositing techniques in this context yields subpar results that look like a collage --- and existing painterly stylization algorithms, which are global, perform poorly when applied locally. We address these issues with a dedicated algorithm that carefully determines the local statistics to be transferred. We ensure both spatial and inter-scale statistical consistency and demonstrate that both aspects are key to generating quality results. To cope with the diversity of abstraction levels and types of paintings, we introduce a technique to adjust the parameters of the transfer depending on the painting. We show that our algorithm produces significantly better results than photo compositing or global stylization techniques and that it enables creative painterly edits that would be otherwise difficult to achieve.
Leonardo da Vinci, βSalvator Mundiβ (c.1500), oil on panel, 25 7/8 x 18 in.(65.7 x 45.7 cm) (courtesy Christieβs)
βSalvator Mundiβ (c. 1500) sold at Christieβs for $450,312,500 (inc. buyerβs premium) after just under 20 minutes of bidding, becoming the most expensive artwork ever sold at auction. Christieβs hired an outside PR firm for the first time in order to conduct its marketing campaign β branded βThe last da Vinciβ β which included a video of viewers stunned in awe before the painting. The record price was set despite concerns regarding the precise attribution of the work from figures like Michael Daley, Frank ZΓΆllner, and Jerry Saltz. A Guardian article published last month regarding Walter Isaacsonβs new biography of Leonardo was later revised with an editorβs note explaining that the piece βis the subject of a legal complaint made on behalf of Christieβs International Plc.β Isaacson subsequently took to Facebook to clarify his stance that the work was created by Leonardo.
https://github.com/sirxemic/fractal-paint
Online little tool to create fractal-ish images from simple drawings using HTML5 canvases.
The employees at Factum Arte are world-class art forgers. But this Madrid-based company is no criminal enterprise. Each piece they create is intended to preserve and protect our cultural heritage. The company has even developed advanced technologies to scan, document and recreate a vast array of objects. From priceless Renaissance paintings to a life-size replica of Tutankhamunβs tomb, founder Adam Lowe says that creating these facsimiles is one of the best ways to protect the originals.
This is my tribute to Pablo Picassoβs most famous artwork, Guernica (1937). The main reason to do this is to echo Picassoβs antiwar message, which I strongly believe is needed more than ever. The backside of this artwork I added a few other Picassoβs artworks to advocate peace, however washed out and fragmented it is. The ox, the βsleepingβ soldier, and Pegasus are from one of his early Guernica sketches. The others, most notably his Bouquet of Peace (1958), are sampled from his later works with peace theme. The only 3 animated elements are the flower, the lamp, and the light bulb. To me the flower symbolizes life, the lamp represents hope, and the light bulb embodies technological destruction. As long as life continues and hope lasts, humanity will goes on.
In July 2016, MoMA PS1 invited artist Katharina Grosse to transform a decaying former military building at Fort Tilden, Queens, into a monumental, sublime artwork using a specialized technique to spray brightly colored paint directly onto the structure. Grosseβs approach highlights the potential of painting as a medium, and encapsulates the stark beauty of this manmade structure and its natural surroundings.
Dazzle camouflage, also known as razzle dazzle or dazzle painting, was a family of ship camouflage used extensively in World War I and to a lesser extent in World War II. Credited to artist Norman Wilkinson, it consisted of complex patterns of geometric shapes in contrasting colours, interrupting and intersecting each other.
Unlike some other forms of camouflage, dazzle works not by offering concealment but by making it difficult to estimate a target's range, speed and heading. Norman Wilkinson explained in 1919 that dazzle was intended more to mislead the enemy as to the correct position to take up than actually to miss his shot when firing.
Dazzle was adopted by the British Admiralty and the U.S. Navy with little evaluation. Each ship's dazzle pattern was unique to avoid making classes of ships instantly recognisable to the enemy. The result was that a profusion of dazzle schemes was tried, and the evidence for their success was at best mixed. So many factors were involved that it was impossible to determine which were important, and whether any of the colour schemes were effective.
Dazzle attracted the notice of artists, with Picasso notably claiming cubists had invented it. The vorticist artist Edward Wadsworth, who supervised the camouflaging of over 2,000 ships during the First World War, painted a series of canvases of dazzle ships after the war, based on his wartime work.
Retouches features a series of repeated visual cycles, an animation painted on celluloid that examines transformation in the world around us.
As with 78 tours and Jeu, Georges Schwizgebel tries to grasp the ungraspable -- movement itself -- by playing with notions of perception and representation, changing the balance of shapes for amazing metamorphoses. He turns someone going upstairs into a hurdler and hair being brushed into a windswept forest; as for a tennis game, the ball remains motionless and the court whirls spectacularly around it.
Finally the film calms down into an image of a sleeping woman perhaps dreaming of the very images we ourselves have just observed. Retouches is the virtuoso dream of a visual acrobat.
Conservators at the Prado in Madrid recently made an astonishing discovery. They announced yesterday that the painting assumed to be a replica of the Mona Lisa, had actually been painted by one of his key pupils, working alongside the master. The picture is more than just a studio copy β it changed as Leonardo developed his original composition.
The so-called βMona Lisa of the Pradoβ has long been in the museumβs collection, tucked away in its vaults and displayed only occasionally, its significance not fully understood. The experts thought it was painted by some Dutch artist because they assumed it was painted on oak (a wood not used by Florentine painters), but actually it was painted on walnut. In size, it is close to that of the original: the Louvreβs painting is 77cm x 53cm and the Pradoβs copy 76cm x 57cm.
Explore l'Histoire de France Γ travers les collections des musΓ©es et les documents d'archives
HD photo of The Birth of Venus
Artiste en arts visuels
French architect and artist
His eclectic art seems to be aimed by the necessity of exploring his inner world. There is both frustration and irony to be found in his photographs, paintings and installations.
Portuguese painter.
Danish artist based in Copenhagen
Tom McGrath's second solo exhibition at Zach Feuer Gallery continues to explore themes of the road and car culture that he initiated in 2002.
Painter
Night Traveling, Day Dreaming, while Mapping my Escapisms, Tracing Love
Painter and video artist from Quebec
a blog about art
Manuel Teran website
Chilian visual artist, painter
rAndom International is a London based design collective that was founded by Stuart Wood, Flo Ortkrass and Hannes Koch in 2002.
His work explores themes of alienation, dispossession, and perversity that exists behind the facade of contemporary western society. By subverting mainstream iconography from the advertising, entertainment and political spectrum he creates a visual and c