Throughout history, the effects of wear and tear, along with natural aging, have resulted in oil paintings displaying cracks, discoloration, and peeling pigments, leaving lasting marks.
Repairing such damage is typically reserved for the most treasured artworks, requiring years of meticulous effort. However, a new approach promises to revolutionize this process, enabling the restoration of aging pieces in a matter of hours.
This innovative technique utilizes artificial intelligence and advanced digital tools to create reconstructions of damaged paintings, which are subsequently printed on a transparent polymer sheet and applied over the original artwork.
To showcase this method, Alex Kachin, a graduate researcher from the Massachusetts Institute of Technology, undertook the restoration of damaged panels attributed to a master Dutch painter of the late 15th century, whose identity remains unknown, following a piece by Martin Schongauer.
The artwork, rich in detail, is visibly segmented into four panels, marred by fine cracks and speckled with countless tiny paint losses.
“Much of the damage involves small, intricate details,” Kachin noted. “It has been deteriorating for centuries.”
Kachin initiated the process by scanning the painting to ascertain the dimensions, shapes, and locations of the damaged areas, identifying 5,612 individual sections requiring repair.
Following this, a digital mask was created using Adobe Photoshop. Missing paint spots were filled in, with surrounding pigment colors adjusted accordingly. Repairs to patterned sections involved duplicating similar patterns from other areas of the painting. For instance, a missing facial feature of a child was sourced from a different work by the same artist.
Once the mask was complete, it was printed on the polymer sheet and painted over, followed by a varnish application to ensure it harmonized with the painting.
In total, 57,314 colors were utilized to restore the damaged sections. The modifications were crafted to enhance the artwork even if slightly misaligned.
Upon seeing the results, Kachin expressed satisfaction. “We dedicated years to perfecting this method,” he remarked. “It was a significant relief to realize that this approach enabled us to reconstruct and piece together the surviving parts of the painting.”
This approach, as detailed in Nature, can only be applied to works featuring a smooth varnish that allows for flat application. The mask can be removed using conservator solvents without leaving marks on the original piece.
Kachin envisions this technique facilitating galleries in restoring and showcasing numerous damaged paintings that might otherwise lack the value warranting traditional restoration efforts.
Nonetheless, he recognizes the ethical considerations surrounding the use of film overlays on paintings, questioning whether they might disrupt the viewing experience and the appropriateness of features derived from other works.
In a related commentary, Professor Hartmut Kutzke from the Museum of Cultural History at the University of Oslo emphasized that this method enables quicker and more cost-effective recovery of damaged artworks compared to conventional methods.
“This technique is likely best suited for relatively low-value pieces kept in less visible locations, and may not be appropriate for renowned, high-value artworks,” he noted. “However, it could significantly increase public access to the arts, bringing damaged pieces out of storage and into the view of new audiences.”
Source: www.theguardian.com
