Style or Signature? Artist-Disjoint Evaluation of Style Classification in Frozen Vision Embeddings

Artistic style classification is usually studied on complete artworks, where models can exploit global composition, spatial organisation, and iconographic structure. In archaeological settings, however, artworks often survive only as fragmented remains, forcing recognition from incomplete, irregular, and context-limited visual evidence. We study fresco-fragment style classification using a progressive transformer-based framework. Starting from a ViT-B/16 baseline, we introduce foreground-guided masking to suppress background-only tokens, inpainting-based geometric regularisation to align irregular fragment supports with the ViT patch grid, and a supervised contrastive objective that operates on predictive distributions through a Kullback-Leibler similarity and consistently improves every branch. We combine the branches with a deliberately simple learnable logit ensemble. Experiments on CLEOPATRA and POMPAAF show that fragment-aware modelling improves over the standard ViT baseline, with the ensemble increasing accuracy from 0.604 to 0.656 and macro-F1 from 0.596 to 0.648 on CLEOPATRA, and outperforming the best single branch in four of six fragmentation settings on POMPAAF. We additionally evaluate a more complex graph-fusion variant and find that it matches the simple ensemble on POMPAAF while offering only a small, dataset-specific gain on CLEOPATRA, which does not justify its added complexity. Beyond these empirical gains, our contribution is twofold: a distribution-level contrastive objective that consistently sharpens single-branch recognition, and an interpretability analysis that verifies the models exploit genuine painted evidence, while quantifying that the inpainting-based branch draws part of its attribution from the synthesised surround.

Raw cosine in the 768-dimensional output space of the Contrastive Style Descriptor (CSD) is now widely read as an absolute, calibrated style-fidelity score for text-to-image and style-imitation evaluation. We introduce the discrimination gap, a corpus-internal, prototype-free and threshold-free diagnostic that tests whether contrastive style cosines admit an absolute same-versus-different interpretation on a candidate artist corpus. On a 1799-artwork, 91-artist public-domain corpus, raw CSD cosine yields negative point-estimate gaps for $23/91$ artists at the pairwise level ($2/91$ robust under bootstrap) and for $15/91$ in the aggregated-pool scoring regime style-fidelity evaluations typically use. CSLS readout on the frozen backbone reduces the aggregated negative-gap count to $4/91$; combined with positional-embedding interpolation to $336$ pixels it raises unsupervised pair-verification AUC from $0.883$ to $0.905$ across $25$ artist-disjoint splits. We refer to this diagnostic-driven readout protocol on the frozen backbone (CSLS as default, pos-interp $336$ as the stronger optional setting) as CSD+, not a new encoder.A cross-backbone check on CLIP-ViT-L/14, SigLIP-large and DINOv2-Large reproduces the same shared-tradition failure pattern, providing evidence that the residual reflects a shared limitation of the four backbones we tested rather than a CSD-specific artefact. Practical implication: before reporting CSD cosine as an absolute style-fidelity score, run the diagnostic on the candidate corpus; CSLS is the minimal correction when it fails.

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.