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Figure 7a presents a first example of digital inpainting of the “Monument to Jan Matejko”, an icon of the Polish art and a long-lasting master piece in the National Gallery in Warsaw. The 1883 painting is shown before the restoration project of 2014 [2]. It was painted on canvas with a mixture of acrylic, oil, and pigment, and the canvas suffered from extensive damages (figure 7b). The art conservator had to remove a small portion of canvas, parts of the paint, and part of the canvas itself, in order to restore the original look of the work. The restoration project was accomplished in 2014, and today, the canvas is protected by an acrylic varnish that has been applied to the painted surface. In order to reconstruct the undamaged original, the art conservator measured the characteristics of the unknown damaged areas, and the restoration was done accordingly. This example shows the success of the initiative to restore the unknown areas by using the painted frames of the canvas as the basis to generate a realistic inpainting. The restoration project was carried out in 2014, and results are shown in Figure 7c. The generated inpainted image is a faithful re-creation of the original canvas, which was painted in 1883 by Jan Matejko. The inpainting procedure was executed through local and non-local approaches, and the results show that the damaged areas have been generated with good accuracy. Both the inpainted and the undamaged areas are geometrically consistent.
Figure 7b shows the results of the proposed method on the “Monument to Jan Matejko” before the restoration project of 2014 [2]. The black image shows the unknown damaged areas on the top left corner of the canvas (figure 7b). The rest of the canvas is rendered as a white surface. The inpainted image is a faithful re-creation of the undamaged original, and at the same time, it captures the damaged areas with good accuracy. Both the inpainted and the undamaged areas are geometrically consistent. The green background shows the scanned copy of the original scene.
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