Abstract
We used shape-from-shading algorithms from computer vision and maximum-likelihood methods to estimate the location of the illuminants from the distribution of illuminance measured from planar Lambertian surfaces in Baroque paintings by Georges de la Tour and Caravaggio. In key paintings we found the light source to be local (rather than distant solar) or otherwise in positions incompatible with a recent theory these artists used optical projections during the execution of these works.
© 2008 Optical Society of America
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