Vision-Language Models (VLMs) transfer visual and textual data into a shared embedding space. In so doing, they enable a wide range of multimodal tasks, while also raising critical questions about the nature of machine 'understanding.' In this paper, we examine how Explainable Artificial Intelligence (XAI) methods can render the visual reasoning of a VLM - namely, CLIP - legible in art-historical contexts. To this end, we evaluate seven methods, combining zero-shot localization experiments with human interpretability studies. Our results indicate that, while these methods capture some aspects of human interpretation, their effectiveness hinges on the conceptual stability and representational availability of the examined categories.
Figures & tables
Figure 1: The saliency map highlights, in red , the image regions most strongly associated with the concept of the “snake” in Franz von Stuck’s Adam and Eve (c. 1920).
Figure 2: For Ercole de’ Roberti’s The Wife of Hasdrubal and Her Children (c. 1490/1493), the ground-truth bounding boxes for the concept “nude” are shown in green (a). The bounding boxes derived from the class-conditional saliency map are displayed at progressively increasing threshold levels τ∈{0.20,0.30,0.40,0.50,0.60} .
Dataset
Images
Boxes
Classes
Total
Positive
Negative
ArtDL
4,166
808
3,358
3,793
59
IconArt
1,480
1,037
443
4,931
10
Table I : Statistics of the ArtDL ( Milani and Fraternali, 2021 ) and IconArt ( Gonthier et al., 2018 ) test datasets.
Dataset
Method
IoU ≥0.30
IoU ≥0.50
BoxAcc
BoxAccS
BoxAccM
BoxAccL
BoxAcc
BoxAccS
BoxAccM
BoxAccL
IconArt
CLIP Surgery
0.2876
0.0862
0.2447
0.6623
0.1482
0.0219
0.0807
0.4070
LeGrad
0.2722
0.0849
0.2585
0.6436
0.1369
0.0232
0.0981
0.3808
ScoreCAM
0.2411
0.0433
0.2264
0.6230
0.1040
0.0107
0.0852
0.2953
gScoreCAM
0.2344
0.0679
0.2356
0.6024
0.1121
0.0174
0.0843
0.3208
GradCAM
0.1391
0.0666
0.2145
0.2509
0.0355
0.0156
0.0660
0.0624
Table II : Bounding box detection results are reported for the IconArt ( Gonthier et al., 2018 ) and ArtDL ( Milani and Fraternali, 2021 ) test sets, using the highest BoxAcc obtained across all binarization thresholds τ . The best performing approach per test set is indicated in bold.
Figure 3: Seven artworks were selected for the online study, each paired with two target classes: Petrus Christus, A Goldsmith in his Shop (1449; a) with “convex mirror” and “girdle” ; Franz von Stuck, Adam and Eve (c. 1920; b) with “arm outstretched” and “snake” ; Antonello da Messina, Calvary (1475; c) with “John” and “thief” ; Claude Monet, Japanese Footbridge (1899; d) with “bridge” and “flower” ; Jean-Auguste-Dominique Ingres, Oedipus and the Sphinx (1808; e) with “left foot” and “Sphinx” ; Sandro Botticelli, The Lamentation (c. 1490; f) with “sword” and “Virgin Mary” ; Bartholomeus van der Helst, The Musician (1662; g) with “lustful” and “sheet music.”
Figure 4: Evaluation results are shown as divergent stacked bar charts, comparing seven visual explainability methods for each image and class. Colors range from red ( “least accurate” ) to blue ( “most accurate” ). Kendall’s W is reported to assess inter-rater reliability.
Figure A.1 : Ground-truth annotations and saliency maps for Franz von Stuck’s Adam and Eve (c. 1920), shown for the classes “arm outstretched” ( top row ) and “snake” ( bottom row ).
Figure A.2 : Ground-truth annotations and saliency maps for Jean-Auguste-Dominique Ingres’s Oedipus and the Sphinx (1808), shown for the classes “left foot” ( top row ) and “Sphinx” ( bottom row ).
Figure A.3 : Ground-truth annotations and saliency maps for Claude Monet’s Japanese Footbridge (1899), shown for the classes “bridge” ( top row ) and “flower” ( bottom row ).
Figure A.4 : Ground-truth annotations and saliency maps for Bartholomeus van der Helst’s The Musician (1662), shown for the classes “lustful” ( top row ) and “sheet music” ( bottom row ).
Figure A.5 : Ground-truth annotations and saliency maps for Petrus Christus’s A Goldsmith in his Shop (1449), shown for the classes “convex mirror” ( top row ) and “girdle” ( bottom row ).
Figure A.6 : Ground-truth annotations and saliency maps for Sandro Botticelli’s The Lamentation (c. 1490), shown for the classes “sword” ( top row ) and “Virgin Mary” ( bottom row ).
Figure A.7 : Ground-truth annotations and saliency maps for Antonello da Messina’s Calvery (1475), shown for the classes “John” ( top row ) and “thief” ( bottom row ).
VLMs have become increasingly proficient at a range of computer vision tasks, such as visual question answering and object detection. This includes increasingly strong capabilities in the domain of art, from analyzing artwork to generation of art. In an interdisciplinary collaboration between computer scientists and art historians, we characterize the mechanisms underlying VLMs' ability to predict artistic style and assess the extent to which they align with the criteria art historians use to reason about artistic style. We employ a latent-space decomposition approach to identify concepts that drive art style prediction and conduct quantitative evaluations, causal analysis and assessment by art historians. Our findings indicate that 73% of the extracted concepts are judged by art historians to exhibit a coherent and semantically meaningful visual feature and 90% of concepts used to predict style of a given artwork were judged relevant. In cases where an irrelevant concept was used to successfully predict style, art historians identified possible reasons for its success; for example, the model might "understand" a concept in more formal terms, such as dark/light contrasts.
Vision-Language Models (VLMs) map complex visual inputs to semantic spaces, but interpreting the cross-modal reasoning of VLMs currently relies on post-hoc explainers evaluated via unimodal perturbation metrics. We expose a limitation in this paradigm: because multimodal datasets contain language priors and modality biases, VLMs frequently exhibit cross-modal redundancy, allowing them to answer visual queries using text alone. Consequently, unimodal metrics penalize faithful explainers, triggering an evaluation collapse where visual and textual rankings fundamentally contradict each other. %(Kendall's τ=−0.06). To resolve this, we introduce Synergistic Faithfulness (Fsyn), a scalable metric rooted in the Shapley Interaction Index that strictly isolates the joint Harsanyi dividend between modalities, serving as a highly accurate surrogate (ρ=0.92) while achieving a 24× computational speedup. Evaluating 8 distinct XAI methods across 3 VLM architectures and 3 benchmark datasets, reveals that explainers proposed for VLMs heavily over-index on visual salience and significantly underperform adapted attention-based methods in capturing true cross-modal synergy. By decoupling visual plausibility from cross-modal faithfulness, this work provides a rigorous evaluation framework required to safely audit VLM reasoning in high-stakes deployments.
Joël Roman Ky, Salah Ghamizi, Maxime Cordy
University of Luxembourg, Luxembourg · Luxembourg Institute of Health (LIH), Luxembourg
We introduce CARTBENCH, a museum-grounded benchmark for evaluating vision-language models (VLMs) on Chinese artworks beyond short-form recognition and QA. CARTBENCH comprises four subtasks: CURATORQA for evidence-grounded recognition and reasoning, CATALOGCAPTION for structured four-section expert-style appreciation, REINTERPRET for defensible reinterpretation with expert ratings, and CONNOISSEURPAIRS for diagnostic authenticity discrimination under visually similar confounds. CARTBENCH is built by aligning image-bearing Palace Museum objects from Wikidata with authoritative catalog pages, spanning five art categories across multiple dynasties. Across nine representative VLMs, we find that high overall CURATORQA accuracy can mask sharp drops on hard evidence linking and style-to-period inference; long-form appreciation remains far from expert references; and authenticity-oriented diagnostic discrimination stays near chance, underscoring the difficulty of connoisseur-level reasoning for current models.
Xuefeng Wei, Zhixuan Wang, Xuan Zhou +5
Nara Institute of Science and Technology · Liaoning Normal University