LAPIS: A novel dataset for personalized image aesthetic assessment

We present the Leuven Art Personalized Image Set (LAPIS), a novel dataset for personalized image aesthetic assessment (PIAA). It is the first dataset with images of artworks that is suitable for PIAA. LAPIS consists of 11,723 images and was meticulously curated in collaboration with art historians. Each image has an aesthetics score and a set of image attributes known to relate to aesthetic appreciation. Besides rich image attributes, LAPIS offers rich personal attributes of each annotator. We implemented two existing state-of-the-art PIAA models and assessed their performance on LAPIS. We assess the contribution of personal attributes and image attributes through ablation studies and find that performance deteriorates when certain personal and image attributes are removed. An analysis of failure cases reveals that both existing models make similar incorrect predictions, highlighting the need for improvements in artistic image aesthetic assessment. The LAPIS project page can be found at: https://github.com/Anne-SofieMaerten/LAPIS

On the Role of Individual Differences in Current Approaches to Computational Image Aesthetics

Image aesthetic assessment (IAA) evaluates image aesthetics, a task complicated by image diversity and user subjectivity. Current approaches address this in two stages: Generic IAA (GIAA) models estimate mean aesthetic scores, while Personal IAA (PIAA) models adapt GIAA using transfer learning to incorporate user subjectivity. However, a theoretical understanding of transfer learning between GIAA and PIAA, particularly concerning the impact of group composition, group size, aesthetic differences between groups and individuals, and demographic correlations, is lacking. This work establishes a theoretical foundation for IAA, proposing a unified model that encodes individual characteristics in a distributional format for both individual and group assessments. We show that transferring from GIAA to PIAA involves extrapolation, while the reverse involves interpolation, which is generally more effective for machine learning. Experiments with varying group compositions, including sub-sampling by group size and disjoint demographics, reveal significant performance variation even for GIAA, indicating that mean scores do not fully eliminate individual subjectivity. Performance variations and Gini index analysis reveal education as the primary factor influencing aesthetic differences, followed by photography and art experience, with stronger individual subjectivity observed in artworks than in photos. Our model uniquely supports both GIAA and PIAA, enhancing generalization across demographics.

Have Large Vision-Language Models Mastered Art History?

The emergence of large Vision-Language Models (VLMs) has recently established new baselines in image classification across multiple domains. However, the performance of VLMs in the specific task of artwork classification, particularly art style classification of paintings - a domain traditionally mastered by art historians - has not been explored yet. Artworks pose a unique challenge compared to natural images due to their inherently complex and diverse structures, characterized by variable compositions and styles. Art historians have long studied the unique aspects of artworks, with style prediction being a crucial component of their discipline. This paper investigates whether large VLMs, which integrate visual and textual data, can effectively predict the art historical attributes of paintings. We conduct an in-depth analysis of four VLMs, namely CLIP, LLaVA, OpenFlamingo, and GPT-4o, focusing on zero-shot classification of art style, author and time period using two public benchmarks of artworks. Additionally, we present ArTest, a well-curated test set of artworks, including pivotal paintings studied by art historians.

BackFlip: The Impact of Local and Global Data Augmentations on Artistic Image Aesthetic Assessment

Assessing the aesthetic quality of artistic images presents unique challenges due to the subjective nature of aesthetics and the complex visual characteristics inherent to artworks. Basic data augmentation techniques commonly applied to natural images in computer vision may not be suitable for art images in aesthetic evaluation tasks, as they can change the composition of the art images. In this paper, we explore the impact of local and global data augmentation techniques on artistic image aesthetic assessment (IAA). We introduce BackFlip, a local data augmentation technique designed specifically for artistic IAA. We evaluate the performance of BackFlip across three artistic image datasets and four neural network architectures, comparing it with the commonly used data augmentation techniques. Then, we analyze the effects of components within the BackFlip pipeline through an ablation study. Our findings demonstrate that local augmentations, such as BackFlip, tend to outperform global augmentations on artistic IAA in most cases, probably because they do not perturb the composition of the art images. These results emphasize the importance of considering both local and global augmentations in future computational aesthetics research.

From paintbrush to pixel: A review of deep neural networks in AI-generated art

This paper delves into the fascinating field of AI-generated art and explores the various deep neural network architectures and models that have been utilized to create it. From the classic convolutional networks to the cutting-edge diffusion models, we examine the key players in the field. We explain the general structures and working principles of these neural networks. Then, we showcase examples of milestones, starting with the dreamy landscapes of DeepDream and moving on to the most recent developments, including Stable Diffusion and DALL-E 2, which produce mesmerizing images. A detailed comparison of these models is provided, highlighting their strengths and limitations. Thus, we examine the remarkable progress that deep neural networks have made so far in a short period of time. With a unique blend of technical explanations and insights into the current state of AI-generated art, this paper exemplifies how art and computer science interact.