Conducting Stylistic Analysis of Paintings through an Art-History Agent
Authors: Marc S. Walton, Astrid Harth
Organizations: Museum Studies Programme, The University of Hong Kong, Hong Kong SAR · Department of Chinese and History, City University Hong Kong, Hong Kong SAR
Abstract
Attributing an artwork to an artist has traditionally relied on detailed visual observations and descriptions, known as stylistic analysis in art history. By contrast, current artificial intelligence (AI) models used in the field offer only unexplained probabilistic classifications. To bridge this methodological gap, we present an AI framework that automates stylistic analysis of paintings, providing a foundation for enhancing evidence collection, discovery, and verification. By training a vision transformer (ViT) on a large corpus of paintings with metadata, our system encodes this art history-specific data as embeddings. These representations are factorized via sparse dictionary learning into a shared set of features that recur across the training set. A large language model (LLM) then interprets each feature by retrieving associated artworks and their accompanying curator-written texts, and synthesizes them into descriptions that reflect their stylistic attributes. Finally, an autonomous coordinator LLM applies a reasoning-and-action (ReAct) framework to weight, test, and refine these features into cohesive descriptions of an artwork, or comparisons of artworks. This approach converts detailed visual features into descriptive terms, addressing a key challenge in art history. It thus connects the use of images as data with the semantic concerns of humanists, establishing vision-based computational art history as an area for future growth.
Understanding how artworks are created requires reasoning about the iterative decisions, material operations, and contextual influences that shape artistic production. While recent generative AI systems can synthesize artworks with high fidelity, they primarily model distributions over finished artifacts rather than the creative processes underlying their creation. In practice, artistic workflows are only partially documented through fragmented sources such as archival records, preparatory studies, correspondence, etc., making process-level understanding difficult to formalize computationally. In this work, we introduce ArtMine, a framework for discovering and formalizing artistic processes from heterogeneous historical evidence. Our approach synthesizes heterogeneous artwork evidence into a structured repository, from which a Peircean abductive agent infers evidence-grounded production steps. These steps are converted into a compositional graph and rendering prompt, then optimized through self-reflection over deviations between the generated and reference artworks. We provide a preliminary proof-of-concept case study using open-domain historical sources across multiple artists and artistic movements, demonstrating that fragmented documentary evidence can support coherent, interpretable, and auditable representations of artistic workflows. By modeling creative processes rather than only final artifacts, our work moves toward process-centred human-AI co-creativity systems that can support artistic interpretation, creative education, reflective collaboration, and computational studies of cultural production.
High-quality annotation of artworks is essential for computational art research, yet extracting implicit semantics remains challenging due to the reliance on culturally grounded meanings and deep contextual knowledge behind the images. Current AI-assisted annotation tools often lack assistance or rely on one-way workflows where experts have to perform extra manual calibrations to improve AI models, resulting in limited efficiency. To address this, we propose Bidirectional Human-AI Augmentation(BiHAA), a closed-loop framework in which skills and domain knowledge base evolve through real-time interaction and bidirectional HAI augmentation. Informed by a formative study with 20 artwork annotators from different backgrounds, we implement this framework in ArtAnno, an artwork annotation system driven by a multi-agent architecture. The system includes a Proactive Agentic Support Module, where AI augments humans through semantic mining and label suggestion, and an Interaction-Driven Evolution Module, where human expertise continuously enhances the AI through distilling annotation trajectories into reusable experience. Evaluation through a user study and two case studies demonstrates that our framework and system improve annotation efficiency, enable knowledge accumulation, and reduce the effort of information seeking and verification for annotators with limited domain expertise. We conclude by discussing broader implications and future directions.
The aim of this paper is twofold. First, it investigates whether newer generative models are getting better at pastiching contemporary artworks. Second, it explores the consistency of the multidimensional nature of stylistic evaluation across different LLMs. Building on previous work, we analyze stylistic similarity between AI generated pastiches and the original artworks of twelve contemporary artists. We used five complementary computer vision models to capture texture, color, semantics, composition, and perceptual features through cosine distance in high-dimensional embedding spaces. The distances obtained show that the newer image generation model that we used has produced pastiches with improved semantic alignment and greater diversity than the model used in previous work. However, it was slightly less performant on shallow features such as color, texture, and perceptual adherence. Our findings confirm that artistic style is inherently multidimensional, and measuring it does not depend on any spatial architecture. These quantitative findings are contextualized through feedback from human evaluators, which are the artists themselves.
Anca Dinu, Andreiana Mihail, Andra-Maria Florescu +2