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      Ruskin, Millais, and the Aclands: The colourful story of a painting, from oils to pixels

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      Proceedings of EVA London 2024 (EVA 2024)
      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.
      8–12 July 2024
      John Everett Millais, John Ruskin, Henry Acland, Sarah Angelina Acland, Pre-Raphaelite painting, Pioneer colour photography, Photographic digitisation, Generative Artificial Intelligence, Image colourisation
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            Author and article information

            Contributors
            http://www.jpbowen.com
            Conference
            July 2024
            July 2024
            : 122-129
            Affiliations
            [0001]London South Bank University

            School of Engineering

            London, UK
            [0002]
            Article
            10.14236/ewic/EVA2024.21
            79c0c0e2-353a-4fa8-b0ef-0f122fdbc69f
            © Bowen. Published by BCS Learning and Development Ltd. Proceedings of EVA London 2024, UK

            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/

            Proceedings of EVA London 2024
            EVA 2024
            London
            8–12 July 2024
            Electronic Workshops in Computing (eWiC)
            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.
            History
            Product

            1477-9358 BCS Learning & Development

            Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2024.21
            Self URI (journal page): https://ewic.bcs.org/
            Categories
            Electronic Workshops in Computing

            Applied computer science,Computer science,Security & Cryptology,Graphics & Multimedia design,General computer science,Human-computer-interaction
            Photographic digitisation,Image colourisation,John Ruskin,John Everett Millais,Pre-Raphaelite painting,Generative Artificial Intelligence,Sarah Angelina Acland,Henry Acland,Pioneer colour photography

            REFERENCES

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            2. Ashmolean (2013) Portrait of John Ruskin: A portrait leading to a divorce. Ashmolean Museum, Oxford. https://www.ashmolean.org/portrait-john-ruskin

            3. Ashmolean (2023) Colour Revolution: Victorian Art, Fashion & Design. Ashmolean Museum, Oxford. https://www.ashmolean.org/exhibition/colour-revolution-victorian-art-fashion-design

            4. Bakewell, M. (1996) Lewis Carroll: A Biography. London: Heinemann.

            5. Batchelor, J. (2000) John Ruskin: No Wealth but Life. London: Chatto & Windus.

            6. Bowen, J. P. (2017) Digital conservation and preservation: Whence and whither? MATCONS 2017: Matter and Materials in/for Heritage Conservation, Craiova, Romania, pp. 45–54. https://www.researchgate.net/publication/320064664

            7. Bowen, J. P., Diprose, G., and Lambert, N. (eds.) (2016) EVA London 2016: Electronic Visualisation and the Arts. BCS, Electronic Workshops in Computing (eWiC). ScienceOpen. DOI: 10.14236/ewic/EVA2016.0

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            11. Bowen, J. P. and Giannini, T. (2023) The arts and computational culture: A landscape view. In: Bowen, J.P., Weinel, J., Diprose, G. (eds) (2023) EVA London 2023: Electronic Visualisation and the Arts, pp. 8–14. DOI: 10.14236/ewic/EVA2023.2

            12. Bowen, J. P., Giannini, T., Ara, R., Lomas, A., and Siefring, J. (2019) Computational Culture and AI: Challenging human identity and curatorial practice. In: Weinel, J., Bowen, J.P., Diprose, G., Lambert, N. (eds) (2019) EVA London 2019: Electronic Visualisation and the Arts, pp. 1–9. BCS, Electronic Workshops in Computing (eWiC). ScienceOpen. DOI: 10.14236/ewic/EVA2019.1

            13. Bowen, J. P., Giannini, T., Masson, T., Gaia, G., and Diprose, G. (2023) The digital lens. In Bowen et al. (2023), pp. 1–7. DOI: 10.14236/ewic/EVA2023.1

            14. Bowen, J. P., Weinel, J., and Diprose, G. (eds.) (2023) EVA London 2023: Electronic Visualisation and the Arts. BCS, Electronic Workshops in Computing (eWiC). ScienceOpen. DOI: 10.14236/ewic/EVA2023.0

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            16. Diprose, G. and Seaborne M. (2013) Back to paper? An alternative approach to conserving digital images into the twenty-third century. In J. P. Bowen, S. Keene, & K. Ng (eds.) Electronic Visualisation in Arts and Culture, pp 57–72. Springer Series on Cultural Computing. DOI: 10.1007/978-1-4471-5406-8_5

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            20. Giannini, T. and Bowen, J. P. (2023) Generative art and computational imagination: Integrating poetry and art. In: Bowen, J.P., Weinel, J., Diprose, G. (eds) (2023) EVA London 2023: Electronic Visualisation and the Arts, pp. 211–219. DOI: 10.14236/ewic/EVA2023.37

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            24. Hewitson, M. (2023) The Colourful Creatives: How Victorian Women Shaped Colour Technologies. Ashmolean Museum, Oxford. https://www.ashmolean.org/article/how-victorian-women-shaped-colour-technologies

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            26. Oxfordshire Blue Plaques Board (2013) Sarah Angelina ACLAND (1849–1930): Photographer. Oxfordshire Blue Plaques Scheme. https://www.oxonblueplaques.org.uk/plaques/acland.html

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            32. Winner, E. (2019) Color and form: Emotional connotations of visual art. In How Art Works, chap. 5, pp. 60–76. Oxford University Press.

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