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Proceedings Paper

High-quality imaging in museum: from theory to practice
Author(s): Henri Maitre; Francis J. M. Schmitt; Jean-Pierre Crettez
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Paper Abstract

Electronic imaging may receive several different attributions in the domain of fine arts, and more precisely in the domain of paintings. Some of these attributions may appear sometimes conflicting. The most developed one is the reproduction of the main masterpieces under compact and universal forms allowing for a broad diffusion and display under many very different conditions. It favors efficient and reliable reproductions of color, and demands economic acquisition protocols and tries to mimic the popular slides which are available at every museum entrance.On the other side, digital imaging may be seen as the ultimate solution for a perennial archival of the paintings, or, under another light, as the safer way to allow many different experts to work simultaneously on the same document. It is clear that these two last applications will be drastically more demanding in the quality and the faithfulness of the reproduction they use. Our studies have been made with these goals in mind: i.e. to reproduce any painting with such a quality that the obtained documents may be considered as masters for successive degraded reproductions of the originals, or as sources for a reliable and complete information on the true painting.

Paper Details

Date Published: 4 April 1997
PDF: 10 pages
Proc. SPIE 3025, Very High Resolution and Quality Imaging II, (4 April 1997); doi: 10.1117/12.270054
Show Author Affiliations
Henri Maitre, Ecole Nationale Superieure des Telecommunications (France)
Francis J. M. Schmitt, Ecole Nationale Superieure des Telecommunications (France)
Jean-Pierre Crettez, Ecole Nationale Superieure des Telecommunications (France)


Published in SPIE Proceedings Vol. 3025:
Very High Resolution and Quality Imaging II
V. Ralph Algazi; Sadayasu Ono; Andrew G. Tescher, Editor(s)

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