Individual
Data
Points
IDP |
COLLABORATION ATTRIBUTIONS Below
there are two examples of Data Point Distribution (DPD) and their relationship to the
Designated Artist Target Zone (DATZ). Both examples appear in a similar graphic format to
that which appears in the various Catalogue Raisonnés.
The image designated as rbc-986 shows the results typical of a collaboration
painting. Note that eleven of the IDP are located within the DATZ for Peter Paul Rubens.
All eleven IDP form a tight cluster within the DATZ. Two IDP are barely visible at the
edge of the graphic. What appears to be only a short distance from the DATZ is actually
much farther away than is apparent due to visual compression of the graphic. The farther
the distance from the DATZ, the greater the compression of visible space.
Veritus normally uses sixteen IDP for its evaluation. Because of the initial
results, Veritus plotted an additional eight IDP. A cluster of twelve IDP fell within the
DATZ of Sir Anthony van Dyck. In effect, there were two DPD centres. Thus, this painting
is clearly a collaboration work between Peter Paul Rubens and Sir Anthony van Dyck.
|
Data
Point
Distribution
DPD |
The image designated as
rcr-652 shows the results typical of a collaboration painting. Note that twelve of the IDP
are located within the DATZ for Rembrandt van Rijn. All twelve IDP form a very tight
cluster within the DATZ. Three IDP are barely visible at the edge of the graphic. What
appears to be only a short distance from the DATZ is actually much farther away than is
apparent due to visual compression. The farther the distance from the DATZ, the greater
the compression of visible space.
Veritus normally uses sixteen IDP for its evaluation. Because of the initial
results, Veritus plotted an additional eight IDP. A tight cluster of ten IDP fell within
the DATZ of Jan Lievens. In effect, there were two DPD centres. Thus, this painting is
clearly a collaboration work between Rembrandt van Rijn and Jan Lievens.
|