The de Brécy Tondo, a mysterious painting that has sparked decades of research and debate, is set to be publicly exhibited for the first time in Bradford. This remarkable artwork has long been compared to Raphael’s renowned Sistine Madonna, and recent analysis utilizing artificial intelligence-assisted facial recognition technology has confirmed that the faces in the painting are indeed identical to those in Raphael’s altarpiece.
From July 25th, the Tondo will be showcased at Bradford council’s Cartwright Hall Art Gallery for a period of two months. The identification of this painting was made possible thanks to the groundbreaking research conducted by Prof Hassan Ugail, the director of the centre of visual computing at the University of Bradford. Prof Ugail has developed an innovative AI model specifically designed to recognize paintings by old masters.
Prof Ugail explains, “My AI models delve much deeper into the image, examining minute details such as brush strokes and pigments. The application of this new AI model to the Tondo yielded astounding results, solidifying its probable attribution to Raphael. Combining my previous work with facial recognition and the research of my fellow academics, we have unequivocally concluded that the Tondo and the Sistine Madonna are the works of the same artist.”
This groundbreaking analysis has advanced the field of painting authentication, offering a valuable tool that can augment the expertise of human art experts while promoting transparency in the process. By training an algorithm with millions of faces and comparing facial features across thousands of dimensions, Prof Ugail achieved an impressive level of accuracy. A similarity threshold of 75% was set for considering paintings identical. The analysis revealed a 97% similarity between the madonnas, while the comparison of the children in both paintings resulted in an 86% similarity.
Prof Ugail’s AI analysis provides additional support to previous research conducted by Prof Howell Edwards of the University of Bradford and Prof Christopher Brooke of the University of Nottingham. Prof Edwards, an emeritus professor of molecular spectroscopy, established the Renaissance period based on the pigments present in the Tondo. Prof Brooke, a renowned historian of ecclesiastical art and architecture, also contributed his expertise to this attribution.
The Tondo was acquired in 1981 by George Lester Winward, a visionary businessman from Cheshire, who established the de Brécy Trust Collection to preserve his treasured collection of paintings and drawings for the benefit of art scholars. Timothy Benoy, the honorary secretary of the de Brécy Trust, expressed his satisfaction with the Tondo’s first public exhibition in Bradford, remarking that the cutting-edge technologies at the University of Bradford have played an indispensable role in determining its attribution. Benoy believes this substantial scientific evidence will greatly contribute to the attribution process for artworks.
Councillor Sarah Ferriby expressed delight on behalf of Bradford council, highlighting the city’s pride in being the inaugural host of this remarkable artwork’s public display. The de Brécy Tondo’s presence in Bradford is truly a testament to the convergence of art and technology, marking a significant milestone in the art world’s pursuit of authenticity and historical understanding.
Denial of responsibility! VigourTimes is an automatic aggregator of Global media. In each content, the hyperlink to the primary source is specified. All trademarks belong to their rightful owners, and all materials to their authors. For any complaint, please reach us at – [email protected]. We will take necessary action within 24 hours.
