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Virtual Museum, contemporary painting - p 158

Women, portraits and symbols XXII is the continuation of page 151. Still a beloved theme for painters, whether with paint or digital. This includes the new ai art. Controversial, but we did found big differences in quality, which shows that making good art with ai is not obvious. We did a search in the best, work in which one can recognise the maker. The computerprogram is here a cooperating artist, that's for shure, and with a fantasy without limits. Nothing new, in 3D art the program makers are also part of the creation, and constructions are sold, adapted and expanded by artists. Not to forget that in the workplaces of Leonardo da Vinci or Rubens also other painters did their part of the construction, so the discussions if it is 'from the hand of' or 'from the atelier of' are not always meaningful expertises. In the ai-programs the artist has to choose between millions of constructions and this fact reminds us at the 'trial-and-error' of fractal programs. And formules in this kind of art are also taken over or sold to others for further exploration and compositions (and formules). Most of the good ai-art is digitally manipulated by the artist. If the ai ever becomes completely self-sustaining, he or she may become the greatist artist ever. But we are not that far yet.


Women, portraits and symbols XXII


Rosa Sepple (watercolour & mixed media) via




Marco Ortolan (oil on canvas) via




Edward Denton (digital art) via




Eduardo Landa (oil on canvas) via





Alexx.AI.NFT via





Ji Xin (oil on canvas) via of





さいとうs (ai art) via





Bernard Simunovic (acrylic on canvas) via





Alexander Tsaruk (ai & digital painting) via




Derek Harrison (oil on linen) via




Vincent Mattina (3D art & digital painting) via




Peter Mitchev (oil on canvas) via





叢雲 (ai art) via





Nikolas Tower (colour pencils, watercolour & gold on paper) via





Autumn (digital art) via





Hideyuki Ashizawa (digital sculpting) via





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