Art Analysis

Art Analysis

Mona Lisa | Last Supper | Shakespeare | Grotesque | Leaning Tower of Pisa | Electronic Restoration | Shroud of Turin | Piero della Francesca

1984 “THE HIDDEN MONALISA” – 7 1/2 Min.


A Computer Detective solves the mystery of the identity of the “Real” Mona Lisa
New picture processing techniques are coupled with morphing algorithms, reflectography, ultrasonic imaging, holography, digital radiography and traditional x-ray to reveal a “hidden” Mona Lisa. Morphing demonstrates the creative-decision making steps Leonardo made in starting with the Isabella, Duchess of Aragon, the first model, and the changes he made using his own features to finally realize the celebrated face we know today. A mini-documentary reveals the step-by-step of the unraveling of the mystery.

1989 “THE STAGING OF THE “LAST SUPPER” – 7 Min. 5 Sec.


Understanding Leonardo’s tricks with “True” and “Linear” perspective
For the first time one can move around a 3-dimensional computer model to view Leonardo’s Last Supper from any point of view in the reconstructed refectory at Santa Maria delle Grazie, Milan.

ELECTRONIC RESTORATION

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IDENTIFIED THE PALETTES ON PIEROS DELLA FRANCESCA’S FRESCOES IN SANSEPOLCRO

 

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CREATED A 3D MODEL OF THE LEANING TOWER OF PISA TO DETERMINE METHODS FOR REPAIR AND THE LIFE OF THE TOWER

IDENTIFIED THE COMMERCIAL AND MILITARY HARBORS AT CARTHAGE

IDENTIFIED THE FACE ON SHAKESPEARE’S FOLIO ONE

1992 - “THE MASK OF SHAKESPEARE” – 7 Min.


Computer-aided analysis reveals a striking match between the Droeshout engraving of Shakespeare, printed on the first Folio edition of the author’s work, and a portrait of Queen Elizabeth I. A mini-documentary describes the controversy over the identity of Shakespeare and the solution by computer analysis.

IDENTIFIED THE FACE ON THE SHROUD OF TURIN

1998 – LEONARDO’S GROTESQUES
We believe that we are grotesque in some manner; we lambaste ourselves. But those are intangible feelings. In reality, being grotesque is something tangibly horrifying yet the proportions fit the canons.

MULTIPLE GROTESQUES STILL Copyright © 1998 Lillian F. Schwartz
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LILLIAN’S GROTESQUES FACES Copyright © 1998 Lillian F. Schwartz