![]() ![]() 2 and Marco Musillio, Shining Inheritance: Italian Painters at the Qing Court, 1699–1812 (Los Angeles: Getty Publications, 2016), 110–12, 228–41.ħ. Michele Fatica and Francesco D’Arelli (Naples: Instituto Universitario Orientale, 1999), 103–23 Kristina Kleutghen, Imperial Illusions: Crossing Pictorial Boundaries in the Qing Palaces (Seattle: University of Washington Press, 2015), chap. For the case of China, see, for example, Elisabetta Corsi, “Late Baroque Painting in China Prior to the Arrival of Matteo Ripa, Giovanni Gherardini and the Perspective Painting Called Xianfa,” in La missione cattolica in Cina tra i secoli XVIII–XIX: Matteo Ripa e il Collegio dei Cinesi, ed. 1–2 (2013): 7–8, 10, in which Drucker describes digital art history as “the use of analytic techniques enabled by computational technology.”Ħ. See Johanna Drucker, “Is There a ‘Digital’ Art History?,” Visual Resources: An International Journal of Documentation 29, no. Criminisi, Kemp, and Zisserman, “Bringing Pictorial Space to Life,” 18–20, figs. Antonio Criminisi, Accurate Visual Metrology from Single and Multiple Uncalibrated Images (London: Springer-Verlag, 2001).ģ. Anna Bentkowska-Kafel, Trish Cashen, and Hazel Gardiner, Computers and the History of Art, vol. in abbreviated form under the same title in Digital Art History: A Subject in Transition, ed. Antonio Criminisi, Martin Kemp, and Andrew Zisserman, “Bringing Pictorial Space to Life: Computer Techniques for the Analysis of Painting,” in On-Line Proceedings of Computers and the History of Art (CHArt), British Academy, London, 2002, repr. This research was supported by the Sydney Informatics Hub, a Core Research Facility of the University of Sydney.ġ. My thanks to Julie Nelson Davis, Éric Pecile, and Edward Triplett for their feedback on an earlier draft of this essay, and to Antonio Criminisi and Hussein Keshani for permission to reproduce their models. Colleagues at the 2018–19 Visualizing Venice Summer Workshop, “Advanced Topics in Digital Art History: 3D and (Geo)Spatial Networks,” and the panel “Lost in Translation: Early Modern Global Art History and the Digital Humanities,” held at the CAA 2020 Annual Conference, offered vital feedback and encouragement. Paul Jaskot, Anne Kelly Knowles, and the faculty and participants in the Kress Summer Institute in Digital Mapping and Art History (Middlebury College, August 2014) provided inspiration and key technical support in my earliest explorations of this material. Kirrily White helped build the GIS on which much of the research is based. I would like to acknowledge Sebastian Haan, whose collaboration on a crucial aspect of this project was instrumental to its realization. ![]()
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