First, we have the division of labour between shape nets and texture nets in the case of the image of folded cloth included at reference 2. A case where I think Leonardo was clearly interested in the ways of folded cloth and how they might be captured in chalk on paper. A version of what we believe must go on in the brain of an attentive observer when building the subjective experience of such cloth; the value added over and above a dumb collection of pixels. And not only the division of labour, the detail of that labour.
Second, we have the same work to do with the images of surfaces of flesh and fruit included in the present post. A picture of Pythagoras advocating vegetarianism from the early seventeenth century, by Rubens (flesh) and Snyders (fruit), about a century later than the Leonardo. Another case where the artists were clearly interested in the ways of flesh and fruit respectively; a rather scientific interest in the appearance of these things, and the capture of those appearances, as well as the place of those things in the world of men. A picture from the Royal Collection, spotted yesterday morning in the Cumberland Gallery at Hampton Court Palace.
Third, we have the flesh of Veronese, spotted this afternoon in the National Gallery. More particularly, the four large paintings making up his allegory of love, particularly the back of the faithless lady. From a few decades before Pythagoras.
With both the second and third including a good dollop of folded cloth to tackle, once we have made some progress with the challenge of the first.
So, once we have worked out how texture nets are going to capture the experience seeing red, gone a bit further with (for example) reference 3, we have some work to do.
Reference 1: https://psmv4.blogspot.com/2019/01/making-shape-net.html.
Reference 2: http://psmv2.blogspot.com/2015/09/abstract-expressionism.html.
Reference 3: https://psmv3.blogspot.com/2018/09/seeing-triangles-in-dots.html.
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