Other than expert critics of Renaissance masterpieces. It took artificial intelligence, and, more precisely, an algorithm developed by the University of Bradford to solve the mystery that for years has surrounded a masterpiece by Raphael exhibited at the Prado Museum in Madrid: “The Madonna of the Rose”
This is reported by the Guardian, which explains how the AI certifies that that work was actually painted by the Renaissance master, albeit with the exception of Joseph’s face (probably completed or designed entirely by a student). The discovery is formalized in a scientific article published in the journal «Heritage Science».
The painting depicting Mary, Joseph and the baby Jesus, with the infant John the Baptist was always considered an absolute masterpiece by Raphael, until art experts raised doubts in the 19th century. If in Spain the painting has always been attributed to Raphael, abroad several historians linked it rather to his workshop, in particular with regard to the figure of Joseph. Now the masterpiece has been tested by artificial intelligence developed by Hassan Ugail, professor of visual computing at the University of Bradford. This team concluded that the majority of the painting was indeed done by Raphael, but Joseph’s face is by a different hand, while the lower part is “most likely” by Raphael.
Ugail explained that the algorithm was developed after examining 49 undisputed works by Raphael in extraordinary detail and, as a result, can recognize authentic works by the artist with 98% accuracy.
«The computer observes a painting in great detail. Not just the face, look at all its parts and learn about the color palette, shades, tonal values and brush strokes. He understands the painting in an almost microscopic way, he learns all the key characteristics of Raphael’s hand” explained the Bradford teacher. In the case of the Madonna, early tests showed that she was 60% Raphael.
The computer then examined the painting by section and concluded that the Madonna, Jesus and St. John the Baptist are unmistakably his. Previously, Ugail had used AI-assisted computer-based facial recognition on a painting known as the «Brècy Tondo», which resembles Raphael’s Sistine Madonna. There too the computer determined that it was a work by Raphael.
“I think there is fear of the impact of artificial intelligence on art and historians also think that we are naive, that we don’t know what we are doing,” said the Bradford teacher, candidly admitting that he knows “nothing about art” and that the reception given to his work by art historians can be frosty. However, he says he believes that art historians will eventually be won over and will see artificial intelligence as yet another way to authenticate great art.
«The process of authenticating a work involves considering many aspects: its provenance, pigments, the condition of the work and so on. This type of software can be used as a tool to assist the study and authentication process”, concluded Ugail, underlining that in his opinion “artificial intelligence will not replace human beings”.