{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2025,7,30]],"date-time":"2025-07-30T11:45:48Z","timestamp":1753875948010,"version":"3.41.2"},"reference-count":21,"publisher":"Oxford University Press (OUP)","issue":"4","license":[{"start":{"date-parts":[[2019,9,30]],"date-time":"2019-09-30T00:00:00Z","timestamp":1569801600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/academic.oup.com\/journals\/pages\/open_access\/funder_policies\/chorus\/standard_publication_model"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":[],"published-print":{"date-parts":[[2020,10,9]]},"abstract":"<jats:title>Abstract<\/jats:title>\n               <jats:p>In visual arts, painting is deeply reliant on the colour combination for its impact, depth and emotion. Recently, many studies have focused on image processing, regarding identification and classification of images, using some colour features such as saturation, hue, luminance and so forth. This study aims to delve into some of the painting styles from the perspective of graph theory and network science. We compared a number of famous paintings to find out the likely pattern that an artist uses for colour combination and juxtaposition. To achieve this aim, the digital image of a painting is converted to a graph where each vertex represents one of the painting\u2019s colours. In this graph, two vertices would be adjacent if and only if the two relative colours could be found in at least two adjacent pixels in the digital image. Among the several tools for network analysis, clustering, node centrality and degree distribution are used. Outcomes showed that artists unconsciously are following subtle mathematical rules to reach harmony and coordination in their work.<\/jats:p>","DOI":"10.1093\/comnet\/cnz034","type":"journal-article","created":{"date-parts":[[2019,8,28]],"date-time":"2019-08-28T14:16:08Z","timestamp":1567001768000},"source":"Crossref","is-referenced-by-count":1,"title":["An investigation into colour combination in paintings via graph theory"],"prefix":"10.1093","volume":"8","author":[{"given":"Samaneh Jolany","family":"Vangah","sequence":"first","affiliation":[{"name":"Department of Applied Mathematics, School of Mathematical Sciences, Tarbiat Modares University, Tehran, Iran"}]},{"given":"Yousef","family":"Jamali","sequence":"additional","affiliation":[{"name":"Department of Applied Mathematics, School of Mathematical Sciences, Tarbiat Modares University, Tehran, Iran"}]},{"given":"Mozaffar","family":"Jamali","sequence":"additional","affiliation":[{"name":"Faculty of Visual Art, University of Art, Tehran, Iran"}]}],"member":"286","published-online":{"date-parts":[[2019,9,30]]},"reference":[{"volume-title":"Color Harmony 2: A Guide to Creative Color Combinations","year":"1997","author":"Whelan,","key":"2020100912542733400_B1"},{"volume-title":"The Art of Color: The Subjective Experience and Objective Rationale of Color","year":"1973","author":"Itten,","key":"2020100912542733400_B2"},{"volume-title":"Foundations of Image Science","year":"2013","author":"Barrett,","key":"2020100912542733400_B3"},{"key":"2020100912542733400_B4","doi-asserted-by":"crossref","DOI":"10.1007\/978-0-387-44588-5","volume-title":"Mathematical Problems in Image Processing: Partial Differential Equations and the Calculus of Variations","author":"Aubert,","year":"2006"},{"key":"2020100912542733400_B5","doi-asserted-by":"crossref","DOI":"10.1137\/1.9780898717877","volume-title":"Image Processing and Analysis: Variational, PDE, Wavelet, and Stochastic Methods","author":"Chan,","year":"2005"},{"volume-title":"Image Processing and Analysis with Graphs: Theory and Practice","year":"2012","author":"L\u00e9zoray,","key":"2020100912542733400_B6"},{"key":"2020100912542733400_B7","doi-asserted-by":"crossref","first-page":"P10008","DOI":"10.1088\/1742-5468\/2008\/10\/P10008","article-title":"Fast unfolding of communities in large networks","volume":"2008","author":"Blondel,","year":"2008","journal-title":"J. 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