TY - JOUR
T1 - Colorizing a masterpiece
AU - Tsaftaris, Sotirios A.
AU - Lister, Kristin H.
AU - Fiedler, Inge
AU - Casadio, Francesca
AU - Katsaggelos, Aggelos K.
N1 - Funding Information:
This work was supported in part by a grant from the Andrew W. Mellon Foundation. The authors would like to thank Prof. Robert Erdmann of the University of Arizona in Tucson for making available his registered im - ages of Druet and modern state. They would also like to thank Stephanie D’Alessandro, curator at the Art In - stitute of Chicago (AIC) and John Elderfield, cocurator of the exhibition, Matisse: Radical Invention 1913–1917, for providing the motivation for this work. They would also like to thank Frank Zuccari, Grainger executive director of conservation at AIC, conservators (in particular Kelly Keegan and Lucia Bay), art historians, and imaging specialists at AIC that participated in this effort. Finally they would like to acknowledge the assistance of Jana Zujovic, Kai Hayashi, Benjamin Prosnitz, and Anna Targowska (students at Northwestern University at the time).
PY - 2011/5
Y1 - 2011/5
N2 - The purpose of this article is to discuss the process of colorizing a historical artifacta black and white archival photo of Bathers by a River, 19091917, by Henri Matisse (Art Institute of Chicago 1953.158), taken in November 1913, when the artist was still working on the painting and showing it in a significantly different state compared to the one seen today. Historical accounts describe a painting that was originally a more naturalistic, pastoral image; but over the course of several years, and under the influence of Cubism and the circumstances of World War I, Matisse radically revised his monumental canvas (measuring 260 392 cm). Matisse later considered Bathers by a River to be one of the five most pivotal works of his career [1]. Historical photographs unearthed by archival research depict the painting at various stages. The painting, along with these historical photographs, our colorized image, and other works documenting the experimental nature of the artist's output during a period that has been studied very little until now, have been the centerpiece of a recent exhibit, Matisse: Radical Invention 1913-1917, that was at the Art Institute of Chicago and the Museum of Modern Art in New York City in March-October 2010 [1].
AB - The purpose of this article is to discuss the process of colorizing a historical artifacta black and white archival photo of Bathers by a River, 19091917, by Henri Matisse (Art Institute of Chicago 1953.158), taken in November 1913, when the artist was still working on the painting and showing it in a significantly different state compared to the one seen today. Historical accounts describe a painting that was originally a more naturalistic, pastoral image; but over the course of several years, and under the influence of Cubism and the circumstances of World War I, Matisse radically revised his monumental canvas (measuring 260 392 cm). Matisse later considered Bathers by a River to be one of the five most pivotal works of his career [1]. Historical photographs unearthed by archival research depict the painting at various stages. The painting, along with these historical photographs, our colorized image, and other works documenting the experimental nature of the artist's output during a period that has been studied very little until now, have been the centerpiece of a recent exhibit, Matisse: Radical Invention 1913-1917, that was at the Art Institute of Chicago and the Museum of Modern Art in New York City in March-October 2010 [1].
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U2 - 10.1109/MSP.2011.940408
DO - 10.1109/MSP.2011.940408
M3 - Article
AN - SCOPUS:85032751984
SN - 1053-5888
VL - 28
SP - 113
EP - 119
JO - IEEE Audio and Electroacoustics Newsletter
JF - IEEE Audio and Electroacoustics Newsletter
IS - 3
M1 - 5753071
ER -