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The British landscape painter John Constable is considered foundational for the Realist movement in 19th-century European painting. Constable’s painted skies, in particular, were seen as remarkably accurate by his contemporaries, an impression shared by many viewers today. Yet, assessing the accuracy of realist paintings like Constable’s is subjective or intuitive, even for professional art historians, making it difficult to say with certainty what set Constable’s skies apart from those of his contemporaries. Our goal is to contribute to a more objective understanding of Constable’s realism. We propose a new machine-learning-based paradigm for studying pictorial realism in an explainable way. Our framework assesses realism by measuring the similarity between clouds painted by artists noted for their skies, like Constable, and photographs of clouds. The experimental results of cloud classification show that Constable approximates more consistently than his contemporaries the formal features of actual clouds in his paintings. The study, as a novel interdisciplinary approach that combines computer vision and machine learning, meteorology, and art history, is a springboard for broader and deeper analyses of pictorial realism.
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An interdisciplinary framework for evaluating 19th century landscape paintings for ecological research
Abstract As we contemplate the future of forest landscapes under changing climate conditions and land‐use demands, there is increasing value in studying historic forest conditions and how these landscapes have changed following past disturbances. Historic landscape paintings are a potential source of data on preindustrial forests with highly detailed, full‐color depictions of overstory and understory environments. They display key details about forest community composition, microhabitat features, and structural complexity from a time well before the advent of color photography. Despite these paintings' potential, their scientific applications have been impeded by questions of validity. How truly accurate are the images portrayed in these paintings? How much of an image is an artist's manipulation of a scene to best illustrate an allegory or romanticized view of nature? Following an established assessment model from historical ecology for evaluating resource validity, we demonstrate how scholarship on art history can be integrated with ecological understanding of forest landscapes to follow this model and address these questions of image veracity in 19th century American art. Further, to illustrate the potential use of these historic images in ecological studies, we present in a case study assessing microhabitat features of 10 different paintings. While this paper explores 19th century landscape art broadly, we focus our art historical review in particular on Asher Durand, a prolific and influential artist associated with the so‐called “Hudson River School” in the mid‐1800s. Durand left clear records about his perspectives on accurately depicting nature, and from a review of images and writings of Durand, we find support for the potential use of many of his paintings and sketches in historic forest ecology research. However, we also identify important caveats regarding potential ecological interpretations from these images. More broadly, because 19th century landscape paintings are not always directly transcriptive, and because regional art cultures differed in the 1800s, we cannot within this paper speak about landscape image veracity across all 19th century landscape art. However, in following established methods in historical ecology and integrating tools from art history research, we show that one can identify accurate historic landscape paintings for application in scientific studies.
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- Award ID(s):
- 2005976
- PAR ID:
- 10462997
- Date Published:
- Journal Name:
- Ecosphere
- Volume:
- 14
- Issue:
- 9
- ISSN:
- 2150-8925
- Format(s):
- Medium: X
- Sponsoring Org:
- National Science Foundation
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Accepted Manuscript1.0
- Journal Article:
- https://doi.org/10.1002/ecs2.4649
