C. Richard Johnson, Jr. Cornell University William A. Sethares University of Wisconsin - Madison

Transcription

1 1 WEAVE MAP REPORT Girl with a Pearl Earring Johannes Vermeer c L22; inventory number 670 The Mauritshuis C. Richard Johnson, Jr. Cornell University johnson@ece.cornell.edu William A. Sethares University of Wisconsin - Madison sethares@gmail.com August 2017 In this report, paintings by Vermeer are referred to by L-numbers, based on their numbering in W. Liedtke, Vermeer: The Complete Paintings, Ludion, The dates cited on this cover page span the range of dates estimated in the oeuvre catalogs by Wheelock (1997), Liedtke (2008), and Franits (2015) as compiled in the table at references/dates.html.

2 Johnson and Sethares, Weave Map Report, August Summary This document applies spectral-based, automated thread counting to Girl with a Pearl Earring (L22) by Johannes Vermeer and includes the following: 1. stitched x-radiograph of full painting 2. vertical thread density map 3. horizontal thread density map 4. vertical thread angle map 5. horizontal thread angle map 6. histograms of vertical and horizontal thread counts and angle maps 7. a listing of all close count matches (within ±1 th/cm in both directions for an H to H and V to V match or an H to V and V to H match) among Vermeer s 34 paintings on canvas 8. a composite image containing thread density maps of the painting being studied and its close count matches to the same scale and colorbar for weave match hunting 9. comments on observed cusping and weft snakes Observations: The average thread density of Girl with a Pearl Earring is (H x V) is x th/cm. Girl with a Pearl Earring has cusping on all four sides. Girl with a Pearl Earring has seven close count matches but no apparent weave matches among Vermeer s other paintings on canvas. Girl with a Pearl Earring has no apparent weft snake indicators.

3 Johnson and Sethares, Weave Map Report, August Background Manual thread counting has been used for several decades. One canvas descriptor that has been routinely collected is the average thread count of the threads in each direction (vertical and horizontal) in a painting s canvas. This information has been used to discount the possibility of two canvases coming from the same original roll if their average thread counts (horizontal compared to horizontal and vertical compared to vertical or horizontal compared to vertical and vertical to horizontal) are too different, e.g. by more than 1 th/cm. In 2009, the first weave maps derived from automated thread counts based on a spectral analysis of the painting s x-radiograph were shown at the annual AIC meeting in Los Angeles. The stripes that arise in color-coded images of thread count in small evaluation squares covering the entire painting were immediately recognized as a fingerprint of a specific roll. The first weave match was also shown in this talk [1]. The utility of automated thread counting for canvases with a sufficiently regular weave was confirmed in [2]. Weave matches with art historical implications have been reported for paintings by van Gogh [3], Velázquez [4], and Vermeer [5] [6]. Spectral-based automated thread counting also provides angle maps that make cusping assessment [7] and weft snake hunting [8] easier. Descriptions of the revelations possible from these new visualizations of canvas weave density and thread angle are provided in [9]. Technical description appears in [10] of the algorithms used in composing and comparing weave maps. References [1] C. R. Johnson, Jr., E. Hendriks, P. Noble, and M. Franken, Advances in Computer-Assisted Canvas Examination: Thread Counting Algorithms, 37th Annual Meeting of American Institute for Conservation of Historic and Artistic Works, Los Angeles, CA, May [2] C. R. Johnson, Jr., D. H. Johnson, N. Hamashima, H. S. Yang, and E. Hendriks, On the Utility of Spectral-Maximum-Based Automated Thread Counting from X-Rays of Paintings on Canvas, Studies in Conservation, vol. 56, pp , 2011.

4 Johnson and Sethares, Weave Map Report, August [3] L. van Tilborgh, T. Meedendorp, E. Hendriks, D. H. Johnson, C. R. Johnson, Jr., and R. G. Erdmann, Weave Matching and Dating of Van Gogh s Paintings: An Interdisciplinary Approach, The Burlington Magazine, vol. CLIV, pp , February [4] Pablo Pérez D Ors, C. R. Johnson, Jr., and D. H. Johnson, Velázquez in Fraga: a New Hypothesis about the Portraits of El Primo and Philip IV, The Burlington Magazine, vol. CLIV, pp , September [5] W. Liedtke, C. R. Johnson, Jr., and D. H. Johnson, Canvas Matches in Vermeer: A Case Study in the Computer Analysis of Fabric Supports, Metropolitan Museum Journal, vol. 47, pp , [6] C. R. Johnson, Jr. and W. A. Sethares, Canvas Weave Match Supports Designation of Vermeer s Geographer and Astronomer as a Pendant Pair, Journal of Historians of Netherlandish Art, vol. 9, issue 1, Winter DOI: /jhna [7] P. Noble, A. van Loon, C. R. Johnson, Jr., and D. H. Johnson, Technical Investigation of Rembrandt and/or Studio of Saul and David c from the Collection of the Mauritshuis, ICOM-CC 2011 Lisbon Triennial Conference, Lisbon, Portugal, September [8] C. R. Johnson, Jr., D. H. Johnson, I. Verslype, R. Lugtigheid, and R. G. Erdmann, Detecting Weft Snakes, Art Matters, vol. 5, pp , [9] D. H. Johnson, E. Hendriks, and C. R. Johnson, Jr., Interpreting Canvas Weave Matches, Art Matters, vol. 5, pp , [10] D. H. Johnson, C. R. Johnson, Jr., and R. G. Erdmann, Weave Analysis of Paintings on Canvas from Radiographs, Signal Processing (Special Issue on Image Processing for Art Investigation), vol. 93, pp , March Note: All of these references are available for download from

5 Johnson and Sethares, Weave Map Report, August Observations X-Radiograph: There is a horizontal gap in the x-radiographs in Figure 2 approximately one-third the height of the painting from the bottom edge. Without overlap between the constituent x-radiographs a precise stitched composite is impossible to assemble. Average Thread Count: The average thread count (H x V) is x 14.5 th/cm. These values are noted at the top of the images in the top row of Figure 3 along with the standard deviations of ±1.46 th/cm (H) and ±1.58 th/cm (V). The thread counts were computed in evaluation squares 0.5 cm on a side centered on a grid of points with 0.25 cm horizontal and vertical spacings. The histograms of the thread counts in each thread direction in the evaluation squares, as well as the histograms of the thread angles computed in the same evaluation squares, are plotted in Figure 4. Tight Count Matches: All of the weave matches discovered so far among the canvases in paintings by Vermeer have had both thread counts within 1 th/cm of each other. Using this metric for the designation of a tight count match, L22 has seven: L06 (Officer and Laughing Girl, Frick Collection), L07 (The Milkmaid, Rijksmuseum), L09 (Girl Interrupted at Her Music, Frick Collection), L10 (Young Woman with a Wine Glass, Herzog Anton Ulrich Museum), L11 (The Little Street, Rijksmuseum), L17 (Woman Reading a Letter, Rijksmuseum), and L23 (Study of a Young Woman, Metropolitan Museum of Art). Weave Matches: Figure 9 is designed to assist in assessing if any of the seven tight count matches is a weave match to L22. In Figure 9 all images are to the same scale, which is necessary for visual evaluation of potentially matching stripe patterns. The first two images in the second row are the horizontal thread density map of L06 and the vertical thread density map of L06 - rotated 90 degrees so the stripes are horizontal - with the same colorbar as used for the horizontal thread count for L22 on the left in the top row of Figure 9. These are to be placed on either the right or the left of the left image in the top row and moved up and down looking for a match of the stripe patterns. The images from the second row should be rotated 180 degrees as well in seeking matches in the striped patterns. Because the average horizontal thread counts of L22 are within 1 th/cm of both the average horizontal and vertical thread counts

6 Johnson and Sethares, Weave Map Report, August of L06, the color range in the first 2 images in the second row of Figure 9 is quite similar to the color range of the left map in the top row of Figure 9. A similar visual check is made with the third and fourth images in the second row of Figure 9 against the right image in the top row. The last two images in the second row are the vertical thread density map of L06 and the horizontal thread density map of L06 - rotated 90 degrees so the stripes are vertical - with the same colorbar as used for the vertical thread count for L22 on the right in the top row of Figure 9. These are to be placed either above or below of the right image in the top row and moved right and left looking for a match of the vertical stripe patterns. Also, 180 degree rotations of the two rightmost images in the second row should also be considered for matching stripe patterns. Of these four images in the second row, only one (or none) can have a match with the corresponding images in the top row. For the second row of Figure 9, the image in its first column is close in range and tone to the image on the left in the top row. But, the stripes don t seem to match. The image on the right in the top row has dark stripes on its left and light stripes on its right. This combination does not appear in either the third or fourth entry in row 2. Second column entries in the fourth and fifth rows are the most similar in color range and tone to the left entry in the top row, but closer inspection produces no compelling weave pattern match. There appear to be no weave matches for L22 among Vermeer s paintings on canvas. Weft Snake Indicators: No weft snake indicators were observed in Figure 7 or 8. Cusping: The cusping is greater than 5cm in depth on all four sides.

7 Johnson and Sethares, Weave Map Report, August Acknowledgments The authors of this weave map report on one of Vermeer s paintings on canvas are grateful to the owners of Vermeer s paintings, all of whom gave us access to high resolution digitized x-radiographs of their Vermeers Walter Liedtke (Metropolitan Museum of Art) and Gregor Weber (Rijksmuseum) for their help in persuading the owners of paintings by Vermeer to grant us access to their x-radiographs Rob Erdmann (Rijksmuseum) for expertly assembling full-painting composite x-radiographs all of our research collaborators and thread-counting students over the past decade since the founding of TCAP: the Thread Count Automation Project ( tcap.html).

8 Johnson and Sethares, Weave Map Report, August Images Figure 1: Girl with a Pearl Earring (L22) Note: All of the following images (Figures 2-9) are available on request as high resolution tiff or pdf files.

9 Johnson and Sethares, Weave Map Report, August Figure 2: X-Radiograph of L22

10 Johnson and Sethares, Weave Map Report, August horizontal thread density ( / threads/cm) vertical thread density (14.5 +/ threads/cm) horizontal thread angles (+/ degrees) vertical thread angles (+/ degrees) Figure 3: Weave Maps of L22

11 Johnson and Sethares, Weave Map Report, August Figure 4: Histograms of Thread Count and Angle Computations for L22

12 Johnson and Sethares, Weave Map Report, August Figure 5: Horizontal Thread Density Map of L22

13 Johnson and Sethares, Weave Map Report, August Figure 6: Vertical Thread Density Map of L22

14 Johnson and Sethares, Weave Map Report, August Figure 7: Horizontal Thread Angle Map of L22

15 Johnson and Sethares, Weave Map Report, August Figure 8: Vertical Thread Angle Map of L22

16 Johnson and Sethares, Weave Map Report, August Figure 9: Tight Count Matches of L22