NOTICE: Due to a lapse in annual appropriations, most of this website is not being updated. Learn more.
Form submissions will still be accepted but will not receive responses at this time. Sections of this site for programs using non-appropriated funds (such as NVLAP) or those that are excepted from the shutdown (such as CHIPS and NVD) will continue to be updated.
An official website of the United States government
Here’s how you know
Official websites use .gov
A .gov website belongs to an official government organization in the United States.
Secure .gov websites use HTTPS
A lock (
) or https:// means you’ve safely connected to the .gov website. Share sensitive information only on official, secure websites.
Our title suggests an Artificial Intelligence approach to the use of computers in the fine arts. We consider computers to have capabilities beyond the utilitarian ones of aiding in art making. Rather, we will investigate the possibility of computers seeing, even understanding, significant form in art. This understanding cannot rise autonomously, but must be the product of careful tutelage by artists, critics, and historians. A powerful tutorial mechanism to use for computers to learn about art is the picture grammar, which allows large classes of compositional structures to be described to a computer by the scholar who has a deep undemanding of the art works. In this paper, we illustrate how a machine can be taught the compositional structure of the paintings of the contemporary artist Richard Diebenkorn. With such grammatical instruction, the computer can analyze existing paintings, generate new ones of the same style, and provide a beginning to a computational theory of style.
art form, artificial intelligence, computers, formalism
Citation
Kirsch, R.
, Ressler, S.
and Kirsch, J.
(1988),
Computers Viewing Artists at Work, NATO ASI, Springer Verlag, Berlin, Heidelberg, [online], https://tsapps.nist.gov/publication/get_pdf.cfm?pub_id=821702
(Accessed October 12, 2025)