High-quality imaging in museum: from theory to practice

Henri Maitre; Francis J. M. Schmitt; Jean-Pierre Crettez

doi:10.1117/12.270054

4 April 1997 High-quality imaging in museum: from theory to practice

Henri Maitre, Francis J. M. Schmitt, Jean-Pierre Crettez

Proceedings Volume 3025, Very High Resolution and Quality Imaging II; (1997) https://doi.org/10.1117/12.270054
Event: Electronic Imaging '97, 1997, San Jose, CA, United States

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.

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Henri Maitre, Francis J. M. Schmitt, and Jean-Pierre Crettez "High-quality imaging in museum: from theory to practice", Proc. SPIE 3025, Very High Resolution and Quality Imaging II, (4 April 1997); https://doi.org/10.1117/12.270054

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