Want to see The Sleeping Gypsy, Henri Rousseau's? He must go to New York where it is kept at MoMA. Portrait of Henry VIII by Hans Holbein? A short trip to Madrid, Museo Thyssen. Ambassadors of the same? We must sail to London, and the National Gallery. Or, sitting comfortably in his chair, clicking his computer on the site googleartproject.
com. After a first experiment attempted with the Prado (Tech Buzz News of January 19, 2009), it is now seventeen museums worldwide, from Berlin to Versailles through St. Petersburg that it can virtually visit, as the principle of the "street view" already developed by the search engine.
The eye glides well above the floors of the Hermitage or the National Gallery. But be careful not to play too fast the mouse, the risk of being expelled open Trafalgar Square. The walk is indeed amusing, but not very practical, unless you use the floor plans or menus. The most spectacular aspect of this project is not there, but rather in the opportunity it offers to see reproductions of works said 1060 collections photographed in high resolution, 7 billion pixels! What interest? Zoom in on it, of course.
In the case of Portrait of Joseph Roulin by Van Gogh, it helps to distinguish each brush stroke, and up the fabric of the canvas. Exercise is even more spectacular with The Ambassadors by Holbein. Certainly, the official website of the National Gallery (nationalgallery. org. Uk / paintings / hans-Holbein-the-Younger-the-ambassadors) already allowed to enlarge the details, but not with such precision.
We know that the figure on the left is John Dinteville, Ambassador of France to Henry VIII and lord of Polisy. Art historians have also noticed that on the globe appearing beside him, the name of his fief was clear. Except that which aimed to test this assertion was to consider the original with a very strong lens, triggering alarm bells and angry guards.
Now you can. Just as it is possible to zoom in on his beret, which is attached a medallion-shaped skull, usually almost invisible echo of the skull near the ground represented by a famous anamorphic. There also are other oddities, that might even change research on the artist: why, for example, says it clearly on his globe, not only Polisy but Arras, Lyon, when he fails London Paris, and even Basel, where he began his career and yet he is a citizen? After the time of the fascination is that of regret: not the slightest explanation, nor any comment to accompany the images.
To do this, of course, other sites are not lacking (in the case of Ambassadors numerare. Com / Holbein / start. Htm, for example), but it's still frustrating. As the bizarre idea to include in the high-resolution images of sculptures, such as Canova L'Hermitage, but one angle, which is the negation of the round that requires turning around.
The latest disappointment is the choice for the moment very limited, the works reproduced. Who wants to see Les Demoiselles d'Avignon by Picasso will always take the plane and go to Manhattan's masterpiece founder of Cubism was not selected for the project. But deep down, rubbing the original remains indispensable.
Because it is a detail that the computer is unable to reproduce, this is the format. And a feeling that remains unsurpassed, is that of direct confrontation with the work, even with a near-sighted. Article published in the edition of 15.02.11 
com. After a first experiment attempted with the Prado (Tech Buzz News of January 19, 2009), it is now seventeen museums worldwide, from Berlin to Versailles through St. Petersburg that it can virtually visit, as the principle of the "street view" already developed by the search engine.
The eye glides well above the floors of the Hermitage or the National Gallery. But be careful not to play too fast the mouse, the risk of being expelled open Trafalgar Square. The walk is indeed amusing, but not very practical, unless you use the floor plans or menus. The most spectacular aspect of this project is not there, but rather in the opportunity it offers to see reproductions of works said 1060 collections photographed in high resolution, 7 billion pixels! What interest? Zoom in on it, of course.
In the case of Portrait of Joseph Roulin by Van Gogh, it helps to distinguish each brush stroke, and up the fabric of the canvas. Exercise is even more spectacular with The Ambassadors by Holbein. Certainly, the official website of the National Gallery (nationalgallery. org. Uk / paintings / hans-Holbein-the-Younger-the-ambassadors) already allowed to enlarge the details, but not with such precision.
We know that the figure on the left is John Dinteville, Ambassador of France to Henry VIII and lord of Polisy. Art historians have also noticed that on the globe appearing beside him, the name of his fief was clear. Except that which aimed to test this assertion was to consider the original with a very strong lens, triggering alarm bells and angry guards.
Now you can. Just as it is possible to zoom in on his beret, which is attached a medallion-shaped skull, usually almost invisible echo of the skull near the ground represented by a famous anamorphic. There also are other oddities, that might even change research on the artist: why, for example, says it clearly on his globe, not only Polisy but Arras, Lyon, when he fails London Paris, and even Basel, where he began his career and yet he is a citizen? After the time of the fascination is that of regret: not the slightest explanation, nor any comment to accompany the images.
To do this, of course, other sites are not lacking (in the case of Ambassadors numerare. Com / Holbein / start. Htm, for example), but it's still frustrating. As the bizarre idea to include in the high-resolution images of sculptures, such as Canova L'Hermitage, but one angle, which is the negation of the round that requires turning around.
The latest disappointment is the choice for the moment very limited, the works reproduced. Who wants to see Les Demoiselles d'Avignon by Picasso will always take the plane and go to Manhattan's masterpiece founder of Cubism was not selected for the project. But deep down, rubbing the original remains indispensable.
Because it is a detail that the computer is unable to reproduce, this is the format. And a feeling that remains unsurpassed, is that of direct confrontation with the work, even with a near-sighted. Article published in the edition of 15.02.11
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