![]() A single material category (e.g., fabric) can already display a large variety of these material properties, which demonstrates the enormous variation in visual appearance of materials. ![]() Furthermore, for these painted materials, we can perceive distinct material properties such as glossiness, softness, transparency, etc. It has previous been found that human observers are able to visually categorize and identify materials accurately and quickly for both photos and paintings. The depiction and perception of pictorial space in paintings has historically received more attention than the depiction and perception of materials. On the other hand, as Gibson acknowledges, paintings are the result of endless visual experimentation, and therefore, indispensable for the study of visual perception. On one hand, this makes paintings unsuited as ecological stimulus. Īs a result of this, the depiction contained can deviate from reality. The artist does not copy a retinal image (which would make the painter effectively a biological camera) but may apply techniques such as iteratively adapting templates until they ‘fit’ perceptual awareness. Instead, a painting is explicitly designed for human viewing. When doing so, a painter’s primary concern is not whether a depiction is optically or physically correct. This means that a painter can directly modify and manipulate the 2D image features of the depiction. Unlike photographers, painters are not limited to optical projection and therefore paintings have more freedom. Throughout art history, painters have invented numerous ways to depict the three-dimensional world onto flat surfaces. Hubert Lin and Kavita Bala acknowledge support from NSF (CHS-1617861 and CHS-1513967), and NSERC (PGS-D).Ĭompeting interests: The authors have declared that no competing interests exist. This is an open access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.ĭata Availability: The data underlying this study are available on ( ).įunding: Mitchell van Zuijlen, Maarten Wijntjes, and Sylvia Pont were financed by the Netherlands Organization for Scientific Research with the VIDI project “Visual communication of material properties”, number 276.54.001. Received: DecemAccepted: JPublished: August 26, 2021Ĭopyright: © 2021 Van Zuijlen et al. We conclude that our dataset of painterly material depictions is a rich source for gaining insights into the depiction and perception of materials across multiple disciplines and hope that the release of this dataset will drive multidisciplinary research.Ĭitation: Van Zuijlen MJP, Lin H, Bala K, Pont SC, Wijntjes MWA (2021) Materials In Paintings (MIP): An interdisciplinary dataset for perception, art history, and computer vision. Additionally, we demonstrate that training classifiers on paintings could be used to uncover hidden perceptual cues by visualizing the features used by the classifiers. Furthermore, we demonstrate how paintings could be used to build more robust computer vision classifiers by learning a more perceptually relevant feature representation. We further provide an analysis of the spatial and probabilistic distributions of materials depicted in paintings, in which we for example show that strong patterns exists for material presence and location. Our experiments include a demonstration of how painters create convincing depictions using a stylized approach. ![]() We demonstrate the cross-disciplinary utility of our dataset by presenting novel findings across human perception, art history and, computer vision. The dataset in its entirety is available for browsing and downloading at. Each bounding box was assigned a coarse material label (e.g., fabric) and half was also assigned a fine-grained label (e.g., velvety, silky). ![]() ![]() We annotated a dataset of 19k paintings with 200k+ bounding boxes from which polygon segments were automatically extracted. In this paper, we capture and explore the painterly depictions of materials to enable the study of depiction and perception of materials through the artists’ eye. ![]()
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