“As far as I know, this is the only time this has been done,” National Museum scientist Robert Erdman told When it happens The host Carol Guan. “In addition, it is also unusual to see the museum world collide with the artificial intelligence world.”

Rembrandt’s 1642 painting is larger than the version that has been exhibited for a long time in the Rijksmuseum. That’s because someone reduced it to a certain size three centuries ago.

In 1715, the collective photo of the Amsterdam militia was moved from the militia clubhouse to the city hall. They plan to hang it on the wall between the two doors, but it is not suitable. So they used scissors to fix all four sides.

The fate of the cut canvas fragments remains a mystery. Fortunately, thanks to Gerrit Lundens’s smaller 17th-century copy, art historians know what the original looks like.

By aligning the reproduction with the original, and teaching and developing artificial intelligence that can paint in the Rembrandt style, the museum is able to recreate the lost work. Now, the printed strip is flush with the edge of the original in the Museum’s Honor Gallery.

It does give this painting a different dynamic.-Taco Dibbits, Director of the National Museum

In the cut-out version, the two main characters of the painting, Captain Frans Beninck Kirk and Lieutenant William Van Ruitenborg, are centered.

Now, as the artist hopes, the duo moves to the right, and a new number of bystanders is added to the left. The image of the drummer on the far right is also slightly enlarged.

“It can breathe now,” said museum curator Taco Dibbits. “It really gave this painting a different momentum.”

Audience can Compare the two versions in detail on the museum’s website.

Erdmann stated that arranging virtual versions of these paintings is not easy because of their key differences in proportions, geometry, style and color palette.

“This achieves what I like to call the final step: sending the computer to the art school,” he said.

The team basically cut two virtual paintings into thousands of tiles, and then painstakingly taught the neural network to recreate every tile of Rendon in the style of Rembrandt.

“Then we can rate the students because we have night guard,” He says.

“Once this training process is complete, then we can let this neural network recreate the missing parts in styles, palettes, and proportions. night guard.”

So why not just hire someone who has gone to art school to do the job?

“That was a reasonable choice. But we might also get the artist’s style,” Erdman said.

“That’s great, but we want to see if we can do this without the help of an artist-so this is the most straightforward translation from Rendon style to Rembrandt style.

Just don’t call it “recovery,” Erdmann said.

“This is actually just a temporary exhibition, in which we imagine what these works will look like, instead of being repaired, we will actually make physical modifications to the painting. In this case, we won’t do that. “

Nevertheless, as far as imagination is concerned, Erdmann said this is not bad.

“Of course, I can’t imagine that we can reproduce Rembrandt’s genius,” he said.

“I like to think that because Rembrandt himself is very innovative, he is willing to constantly try new technologies and invent new ways of doing things, he will appreciate… what we do. The rest will be pure speculation. “

Written by Sheena Goodyear, document from The Associated Press. Interview with Robert Erdman, produced by Niza Lyapa Nondo.

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