The Depth and Complexity of Traditional Painting Versus AI-Generated Art: A comparative analysis using Van Eyck&apos;s Arnolfini Portrait

scite shows how a scientific paper has been cited by providing the context of the citation, a classification describing whether it supports, mentions, or contrasts the cited claim, and a label indicating in which section the citation was made.

Header Abstract Content Author and article information REFERENCES Comments

Record: found
Abstract: found
Conference Proceedings: found

Is Open Access

The Depth and Complexity of Traditional Painting Versus AI-Generated Art: A comparative analysis using Van Eyck's Arnolfini Portrait

Published

proceedings-article

Author(s): Mengyao Guo , Yuan Zhuang , Feng Gao , Ze Gao

Publication date (Print): July 2024

Conference name: Proceedings of EVA London 2024 (EVA 2024)

Conference theme: Since 1990, the EVA London Conference has established itself as one of the United Kingdom’s most innovative and interdisciplinary conferences in the field of digital visualisation. The papers and abstracts in this volume cover areas such as the arts, culture, heritage, museums, music, performance, visual art, and visualisation, as well as related interdisciplinary areas, in combination with technology. The latest research and work by early career researchers, established scholars, practitioners, research students, and visual artists, can be found in this volume, published in full colour.

Conference date: 8–12 July 2024

Keywords: Artificial intelligence, Generative Art, Jan van Eyck, Arnolfini portrait, Aesthetics

Bookmark

Abstract

Content

Author and article information

Contributors

Mengyao Guo

Yuan Zhuang

Feng Gao

Ze Gao

Conference

Publication date: July 2024

Publication date (Print): July 2024

Pages: 69-77

Affiliations

[0001]Shenzhen International School of Design, Harbin Institute of Technology

Shenzhen, China

[0002]Shandong University

Jinan

Shandong

China

[0003]Peking University

Haidian District

Beijing

China

[0004]Hong Kong University of Science & Technology, and Hong Kong Polytechnic U.

Hong Kong SAR, China

Article

DOI: 10.14236/ewic/EVA2024.12

SO-VID: 045ebfc2-be49-4e60-941c-fb0d2a353c4a

License:

This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Proceedings of EVA London 2024

Conference acronym: EVA 2024

Conference number:

Conference location: London

Conference date: 8–12 July 2024

Conference sponsor: Electronic Workshops in Computing (eWiC)

History

Product

1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2024.12

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

Albers, J. (2013) Interaction of color. Yale University Press.
Anadol, R. (2019) Machine hallucination.
Anonymous (2020) Book reviews – van eyck. https://hnanews.org/hnar/reviews/van-eyck/. Accessed: 2023-10-31.
Birnbaum, D. (2023) Arthur c. danto – artforum. Accessed: 2023-10-31.
Boden, M. A. (2016) AI: Its nature and future. Oxford University Press.
Borchert, T.-H., Dumolyn, J., & Martens, M. P. (2020) Van Eyck. Thames and Hudson.
Cao, Y., Li, S., Liu, Y., Yan, Z., Dai, Y., Yu, P. S., & Sun, L. (2023) A comprehensive survey of ai-generated content (aigc): A history of generative ai from gan to chatgpt. arXiv preprint arXiv:2303.04226.
Cohn, G. (2018) Ai art at christie’s sells for 432, 500.. Accessed: 2023-10-31.
Collier, J. M. & Carleton, D. L. (1983) Perspective in the arnolfini portrait. The Art Bulletin, 65(4), 691–692.
Colton, S. (2012) The painting fool: Stories from building an automated painter. In Computers and creativity (pp. 3–38). Springer.
Colton, S., Wiggins, G. A., et al. (2012) Computational creativity: The final frontier? In Ecai, volume 12 (pp. 21–26).: Montpelier.
Criminisi, A., Kemp, M., & Kang, S. B. (2004) Reflections of reality in jan van eyck and robert campin. Historical Methods: A Journal of Quantitative and Interdisciplinary History, 37(3), 109122.
Simon, G. (2021) Jan van eyck’s perspectival system elucidated through computer vision. Proceedings of the ACM on Computer Graphics and Interactive Techniques, 4(2), 1–8.
Ward, J. L. (1994) Disguised symbolism as enactive symbolism in van eyck’s paintings. Artibus et historiae, (pp. 9–53).
Ward, J. L. & Carleton, D. L. (1983) On the mathematics of the perspective of the arnolfini portrait and similar works of jan van eyck. The Art Bulletin, 65(4), 680–690.
Weiss, D. M. (1995) Artificial intelligence and the return of the repressed. Southwest Philosophy Review, 11(2), 207–228.
Danto, A. C. (1981) The transfiguration of the commonplace: a philosophy of art. Harvard University Press.
Doehlemann, K. (1906) Die Perspektive der Brüder van Eyck. Teubner.
Du Sautoy, M. (2019) The creativity code. In The Creativity Code. Harvard University Press.
Elgammal, A., Liu, B., Elhoseiny, M., & Mazzone, M. (2017) Can: Creative adversarial networks, generating” art” by learning about styles and deviating from style norms. arXiv preprint arXiv:1706.07068.
Elkins, J. (1991) On the arnolfini portrait and the lucca madonna: Did jan van eyck have a perspectival system? The Art Bulletin, 73(1), 53–62.
Elkins, J. (2019) What painting is. Routledge.
Zhang, K. & Yu, J. (2016) Generation of kandinsky art. Leonardo, 49(1), 48–54.
Deep Dream Generator (2023) Deep Dream Generator – Trending Dreams. Available at: https://deepdreamgenerator.com/ (Accessed: 31 October 2023).
Gombrich, E. H. & Gombrich, E. (1995) The story of art, volume 12. Phaidon London.
Gregory, R. L. (2008) A perception of perception. Inside Psychology: A science over 50 years, (pp. 119).
Hall, E. (1997) The Arnolfini betrothal: medieval marriage and the enigma of Van Eyck’s double portrait, volume 3. Univ of California Press.
Hanley, S. J. (2007) The optical concerns of Jan van Eyck’s painting practice. PhD thesis, University of York.
Harbison, C. (2012) Jan van Eyck: the play of realism. Reaktion Books.
Jacobsen, T. (2002) Kandinsky’s questionnaire revisited: fundamental correspondence of basic colors and forms? Perceptual and Motor Skills, 95(3), 903–913.
Kandinsky, W. (2012) Concerning the spiritual in art. Courier Corporation.
Levin, J. (2002) How the Universe Got Its Spots: Diary of a Finite Time in a Finite Space. Princeton University Press.
McCormack, J., Gifford, T., & Hutchings, P. (2019) Autonomy, authenticity, authorship and intention in computer generated art. In International conference on computational intelligence in music, sound, art and design (part of EvoStar) (pp. 35–50).: Springer.
McCosker, A. & Wilken, R. (2014) Rethinking ‘big data’as visual knowledge: The sublime and the diagrammatic in data visualisation. Visual Studies, 29(2), 155–164.
Mineo, L. (2023) Is art generated by artificial intelligence real art? – Harvard Gazette. [Online; accessed 31-October-2023].
Yup, K. (2023) “What AI art means for society, according to Yale experts”, Yale Daily News. Available at: https://yaledailynews.com/blog/2023/01/23/what-ai-art-means-for-society-according-to-yale-experts/. Accessed: 31 October 2023.
OpenAI (2023) Dall·e 3. Accessed: 2023-10-31.
Osborne, H. (1952). Theory of beauty an introduction to aesthetics.
Panofsky, E. (1966) Early netherlandish painting: its origins and character, vol. 1.
Schaverien, J. (2005) Art, dreams and active imagination: A post-jungian approach to transference and the image. Journal of Analytical Psychology, 50(2), 127–153.
Seidel, L. (1989) “jan van eyck’s arnolfini portrait”: Business as usual? Critical Inquiry, 16(1), 55–86.

Comments

Comment on this article

[1] Albers, J. (2013) Interaction of color. Yale University Press.

[2] Anadol, R. (2019) Machine hallucination.

[3] Anonymous (2020) Book reviews – van eyck. https://hnanews.org/hnar/reviews/van-eyck/. Accessed: 2023-10-31.

[4] Birnbaum, D. (2023) Arthur c. danto – artforum. Accessed: 2023-10-31.

[5] Boden, M. A. (2016) AI: Its nature and future. Oxford University Press.

[6] Borchert, T.-H., Dumolyn, J., & Martens, M. P. (2020) Van Eyck. Thames and Hudson.

[7] Cao, Y., Li, S., Liu, Y., Yan, Z., Dai, Y., Yu, P. S., & Sun, L. (2023) A comprehensive survey of ai-generated content (aigc): A history of generative ai from gan to chatgpt. arXiv preprint arXiv:2303.04226.

[8] Cohn, G. (2018) Ai art at christie’s sells for 432, 500.. Accessed: 2023-10-31.

[9] Collier, J. M. & Carleton, D. L. (1983) Perspective in the arnolfini portrait. The Art Bulletin, 65(4), 691–692.

[10] Colton, S. (2012) The painting fool: Stories from building an automated painter. In Computers and creativity (pp. 3–38). Springer.

[11] Colton, S., Wiggins, G. A., et al. (2012) Computational creativity: The final frontier? In Ecai, volume 12 (pp. 21–26).: Montpelier.

[12] Criminisi, A., Kemp, M., & Kang, S. B. (2004) Reflections of reality in jan van eyck and robert campin. Historical Methods: A Journal of Quantitative and Interdisciplinary History, 37(3), 109122.

[13] Simon, G. (2021) Jan van eyck’s perspectival system elucidated through computer vision. Proceedings of the ACM on Computer Graphics and Interactive Techniques, 4(2), 1–8.

[14] Ward, J. L. (1994) Disguised symbolism as enactive symbolism in van eyck’s paintings. Artibus et historiae, (pp. 9–53).

[15] Ward, J. L. & Carleton, D. L. (1983) On the mathematics of the perspective of the arnolfini portrait and similar works of jan van eyck. The Art Bulletin, 65(4), 680–690.

[16] Weiss, D. M. (1995) Artificial intelligence and the return of the repressed. Southwest Philosophy Review, 11(2), 207–228.

[17] Danto, A. C. (1981) The transfiguration of the commonplace: a philosophy of art. Harvard University Press.

[18] Doehlemann, K. (1906) Die Perspektive der Brüder van Eyck. Teubner.

[19] Du Sautoy, M. (2019) The creativity code. In The Creativity Code. Harvard University Press.

[20] Elgammal, A., Liu, B., Elhoseiny, M., & Mazzone, M. (2017) Can: Creative adversarial networks, generating” art” by learning about styles and deviating from style norms. arXiv preprint arXiv:1706.07068.

[21] Elkins, J. (1991) On the arnolfini portrait and the lucca madonna: Did jan van eyck have a perspectival system? The Art Bulletin, 73(1), 53–62.

[22] Elkins, J. (2019) What painting is. Routledge.

[23] Zhang, K. & Yu, J. (2016) Generation of kandinsky art. Leonardo, 49(1), 48–54.

[24] Deep Dream Generator (2023) Deep Dream Generator – Trending Dreams. Available at: https://deepdreamgenerator.com/ (Accessed: 31 October 2023).

[25] Gombrich, E. H. & Gombrich, E. (1995) The story of art, volume 12. Phaidon London.

[26] Gregory, R. L. (2008) A perception of perception. Inside Psychology: A science over 50 years, (pp. 119).

[27] Hall, E. (1997) The Arnolfini betrothal: medieval marriage and the enigma of Van Eyck’s double portrait, volume 3. Univ of California Press.

[28] Hanley, S. J. (2007) The optical concerns of Jan van Eyck’s painting practice. PhD thesis, University of York.

[29] Harbison, C. (2012) Jan van Eyck: the play of realism. Reaktion Books.

[30] Jacobsen, T. (2002) Kandinsky’s questionnaire revisited: fundamental correspondence of basic colors and forms? Perceptual and Motor Skills, 95(3), 903–913.

[31] Kandinsky, W. (2012) Concerning the spiritual in art. Courier Corporation.

[32] Levin, J. (2002) How the Universe Got Its Spots: Diary of a Finite Time in a Finite Space. Princeton University Press.

[33] McCormack, J., Gifford, T., & Hutchings, P. (2019) Autonomy, authenticity, authorship and intention in computer generated art. In International conference on computational intelligence in music, sound, art and design (part of EvoStar) (pp. 35–50).: Springer.

[34] McCosker, A. & Wilken, R. (2014) Rethinking ‘big data’as visual knowledge: The sublime and the diagrammatic in data visualisation. Visual Studies, 29(2), 155–164.

[35] Mineo, L. (2023) Is art generated by artificial intelligence real art? – Harvard Gazette. [Online; accessed 31-October-2023].

[36] Yup, K. (2023) “What AI art means for society, according to Yale experts”, Yale Daily News. Available at: https://yaledailynews.com/blog/2023/01/23/what-ai-art-means-for-society-according-to-yale-experts/. Accessed: 31 October 2023.

[37] OpenAI (2023) Dall·e 3. Accessed: 2023-10-31.

[38] Osborne, H. (1952). Theory of beauty an introduction to aesthetics.

[39] Panofsky, E. (1966) Early netherlandish painting: its origins and character, vol. 1.

[40] Schaverien, J. (2005) Art, dreams and active imagination: A post-jungian approach to transference and the image. Journal of Analytical Psychology, 50(2), 127–153.

[41] Seidel, L. (1989) “jan van eyck’s arnolfini portrait”: Business as usual? Critical Inquiry, 16(1), 55–86.

UK Computing Summit 2025: Navigating change (surviving and beyond) - 29-30 April @ Sheffield Hallam University - Register here.