Creative Processes of the Visual Arts and Generative AI. Correspondences between Michelangelo and Sebastiano Del Piombo in the Flagellation of Christ Ideation

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dc.contributor.authorBarbieri, Costanzaen_US
dc.contributor.authorClini, Paoloen_US
dc.contributor.authorQuattrini, Ramonaen_US
dc.contributor.authorPieruccini, Paoloen_US
dc.contributor.authorD'Alessio, Mircoen_US
dc.contributor.editorCampana, Stefanoen_US
dc.contributor.editorFerdani, Danieleen_US
dc.contributor.editorGraf, Holgeren_US
dc.contributor.editorGuidi, Gabrieleen_US
dc.contributor.editorHegarty, Zackaryen_US
dc.contributor.editorPescarin, Sofiaen_US
dc.contributor.editorRemondino, Fabioen_US
dc.date.accessioned2025-09-05T20:25:22Z
dc.date.available2025-09-05T20:25:22Z
dc.date.issued2025
dc.description.abstractIs it possible to visualize the creative process of the art in the making? How can we display an intangible phenomenon such as artistic research to make it perceivable and knowable? In the Enacting Artistic Research (EAR) project, a series of examples were identified for the choice of a case study that could lend itself to the continuous representation of the creative process. The choice fell on Michelangelo's preparatory drawings for the Flagellation of Christ for the Borgherini Chapel in San Pietro in Montorio, which Sebastiano del Piombo would have completed between 1516 and 1522, followed by other studies and other drawings for the Altarpiece of the Flagellation for the Church of Santa Maria del Paradiso in Viterbo in 1525. This series of drawings is particularly significant because it allows us to follow the changes made from the first idea, or first thought, through the study drawings or cartoons, up to the final phase of the underdrawing which can be read in infrared reflectography under the painting and then in relation to the chosen pictorial solution. It emerges, from this sequence, that Sebastiano lengthens the figure of Christ and rotates his face to accentuate pathos, involving the observer more closely. In order to enhance the creative process, the paper will present a workflow for the analysis, knowledge creation and storytelling of the artistic process, based on Gigapixel images, Artificial Intelligence generative tools and Large Language Models. The idea is to validate previous analysis thanks to the digital approach and to assess new forms of narratives, effectively exploiting the high-quality facsimile as well as the various AI technologies.The pilot case introduces innovative investigative and visual restitution techniques, such as virtual reality (VR), extended reality (XR), advanced imaging, and 3D modeling. Through the collaboration of scientists, 3D experts, and art historians, this groundbreaking approach unveils artistic research within creative processes, opening new avenues of aesthetic understanding.en_US
dc.description.sectionheadersAnalysing and Documenting the Creation Process, Evolution and Context
dc.description.seriesinformationDigital Heritage
dc.identifier.doi10.2312/dh.20253031
dc.identifier.isbn978-3-03868-277-6
dc.identifier.pages4 pages
dc.identifier.urihttps://doi.org/10.2312/dh.20253031
dc.identifier.urihttps://diglib.eg.org/handle/10.2312/dh20253031
dc.publisherThe Eurographics Associationen_US
dc.rightsAttribution 4.0 International License
dc.rights.urihttps://creativecommons.org/licenses/by/4.0/
dc.titleCreative Processes of the Visual Arts and Generative AI. Correspondences between Michelangelo and Sebastiano Del Piombo in the Flagellation of Christ Ideationen_US
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Track 05 – Analysis and Interpretation