@inproceedings{Berns2005_1,
        Abstract = {Georges Seurat first employed his "chromo-luminist" painting technique on A Sunday on La Grande Jatte - 1884 beginning in late 1885. Painting with small brushstrokes of pigments that were minimally mixed on the palette, he aimed to impart luminosity to the surface and to explore 19th century ideas of color theory, such as simultaneous contrast. Pigment analysis has disclosed that the dots and dashes containing zinc yellow have darkened significantly: yellow, green-yellow, and orange brushstrokes have become dark yellow, olive-green, and reddish brown, respectively. Additionally, the painting has further darkened due to the natural aging of the linseed oil medium. By performing spectral reflectance measurements in-situ on darkened areas of the painting and on paint-outs of fresh unaltered colors, using Kubelka-Munk turbid media theory, imaging the painting with color-managed digital photography, and image editing with Adobe Photoshop, a digital version of the original, more luminous appearance of La Grande Jatte was simulated.},
        Address = {Granada, Andalucia, Spain},
        Author = {Roy S. Berns and Siobhan Byrns and Francesca Casadio and Inge Fledler and Christopher Gallagher and Francisco H. Imai and Alan Newman and Mitchell R. Rosen and Lawrence A. Taplin},
        Booktitle = {Proc. of the 10th Congress of the International Colour Association, AIC Colour 05},
        Keywords = {painting; Art-Si-Digital Rejuvenation; Art-SI},
        Month = {},
        Number = {},
        Organization = {International Colour Association},
        Pages = {1669--1672},
        Title = {Rejuvenating the appearance of Seurat's A Sunday on La Grande Jatte - 1884 using colour and imaging science techniques - a simulation},
        Url = {http://www.art-si.org/PDFs/AIC05_Berns.pdf},
        Volume = {},
        Year = {2005}}