Image comparison methods and applications

Art

The curvilinear forms of the human bodies are framed by the intense angularity of the architectural elements behind them. On the left, a tree provides extra verticality, but both images offer a geometric background that contrasts with the undulating forms of female bodies, drapery, and the softness of the infants. The heads of the mothers in both compositions are where the eye is drawn. Even if slightly off-center, the heads form the thematic midpoint. The Virgin's head is placed slightly higher on the canvas, but in both cases the heads are the emphasis in the composition. Both compositions use monochrome, with no color. The Schongauer engraving depicts the mother Mary and infant Jesus seated on the ground inside an ordinary medieval walled compound; whereas the photograph on the right depicts a Madonna-like image of a black-clad mother smiling with her two happy children.

The silkscreen Warhol self-portrait is rendered in stark neon green; whereas the black-skinned, banana-clad nude dancer in the Colin drawing uses earth tones. The compositions are done to different scales. Whereas Warhol's head is the only element in the composition on the left, the viewer sees the entire body of the dancer on the right. Her body creates rhythm as she moves, and there are no straight lines on the composition. Still, there are implied diagonal lines for structure. In Warhol's image, the hair is angular and forms ironic straight lines out of organic material. His firm brow provides an implied horizontal line. Warhol's composition is more of a vertical cross-shape, whereas the dancer's offers an "x" formed of diagonals. The content of Warhol's self-portrait is the artist. The content of Paul Colin's is dancer Josephine Baker.

3. These two still life compositions are similar in that several large elements are placed alongside smaller ones for scale and emphasis. In the painting by Claesz, the violin is rendered in a different quality of paint and much brighter than the other elements, making it the most noticeable object at first. The violin's neck also creates an implied diagonal line. Then the viewer perceives the artist in the reflection in the mirror ball. Likewise, the low relief stele in the Daugerrotype creates a diagonal line in the composition, drawing the eye toward the twin cherubs. Whereas Daugerre's image is rendered in black and white, "Vanitas Still Life" is in color. Its painting includes a skull, a goblet, a pocket watch, a quill, and a walnut. In "Still Life in an Artist's Studio," the elements include a country wine flask, twin cherub architectural details, a ram's head decoration, and the stele of a woman.

4. Both of these portraits emphasize their subjects by framing them fully within an irrelevant background. The color palettes differ, with the Gericault painting rendered in earthy tones including brown and brick red. DaVinci's "Mona Lisa" has a darker palette with the black of her robes and deep jewel tones of the background. The linear composition in these two works is similar, though, with both offering triangulation and cross formations. The tips of the heads are the top of isosceles triangles. Although Mona Lisa's crossed arms form an obvious horizontal base for the triangle, the insane woman's straightjacketed-arms accomplish the same. Gericault depicts an insane old woman with one eye noticeably larger than the other. DaVinci depicts an equally asymmetrical woman with a soft visage.