Abstract: Computer analysis of visual art, especially paintings, is an interesting cross-disciplinary research domain. Most of the research in the analysis of paintings involve medium to small range datasets with own specific settings. Interestingly, significant progress has been made in the field of object and scene recognition lately. A key factor in this success is the introduction and availability of benchmark datasets for evaluation. Surprisingly, such a benchmark setup is still missing in the area of computational painting categorization. In this work, we propose a novel large scale dataset of digital paintings. The dataset consists of paintings from 91 different painters. We further show three applications of our dataset namely: artist categorization, style classification and saliency detection. We investigate how local and global features popular in image classification perform for the tasks of artist and style categorization. For both categorization tasks, our experimental results suggest that combining multiple features significantly improves the final performance. We show that state-of-the-art computer vision methods can correctly classify 50 % of unseen paintings to its painter in a large dataset and correctly attribute its artistic style in over 60 % of the cases. Additionally, we explore the task of saliency detection on paintings and show experimental findings using state-of-the-art saliency estimation algorithms.

Abstract: Estimation of intrinsic images still remains a challenging task due to weaknesses of ground-truth datasets, which either are too small or present non-realistic issues. On the other hand, end-to-end deep learning architectures start to achieve interesting results that we believe could be improved if important physical hints were not ignored. In this work, we present a twofold framework: (a) a flexible generation of images overcoming some classical dataset problems such as larger size jointly with coherent lighting appearance; and (b) a flexible architecture tying physical properties through intrinsic losses. Our proposal is versatile, presents low computation time, and achieves state-of-the-art results.

Abstract: Convolutional Neural Networks have been proposed as suitable frameworks to model biological vision. Some of these artificial networks showed representational properties that rival primate performances in object recognition. In this paper we explore how color is encoded in a trained artificial network. It is performed by estimating a color selectivity index for each neuron, which allows us to describe the neuron activity to a color input stimuli. The index allows us to classify whether they are color selective or not and if they are of a single or double color. We have determined that all five convolutional layers of the network have a large number of color selective neurons. Color opponency clearly emerges in the first layer, presenting 4 main axes (Black-White, Red-Cyan, Blue-Yellow and Magenta-Green), but this is reduced and rotated as we go deeper into the network. In layer 2 we find a denser hue sampling of color neurons and opponency is reduced almost to one new main axis, the Bluish-Orangish coinciding with the dataset bias. In layers 3, 4 and 5 color neurons are similar amongst themselves, presenting different type of neurons that detect specific colored objects (e.g., orangish faces), specific surrounds (e.g., blue sky) or specific colored or contrasted object-surround configurations (e.g. blue blob in a green surround). Overall, our work concludes that color and shape representation are successively entangled through all the layers of the studied network, revealing certain parallelisms with the reported evidences in primate brains that can provide useful insight into intermediate hierarchical spatio-chromatic representations.