Lillian Schwartz

Lillian Schwartz studied at University of Cincinnati. The recorded working language is English. The field of work recorded is computer art. Places of work recorded in the authority are United States. Employment is recorded with Bell Labs. Work by Lillian Schwartz is recorded in the collections of ZKM Center for Art and Media Karlsruhe and San Francisco Museum of Modern Art.

• Name — Lillian Schwartz • Known for — Computer-mediated art • Birth Name — Lillian Feldman • Born — 13 July 1927 • Birthplace — Cincinnati, Ohio, U.S. • Died — 12 October 2024 • Place of death — Manhattan, New York, U.S. • Awards — Winsor McCay Award, Emmy Award

Schwartz was born in Cincinnati, Ohio, on July 13, 1927 to Jacob and Katie (Green) Feldman. Jacob was a barber born in Russia; Katie had immigrated from Liverpool, England. Both were Jewish emigres. The youngest of her parents' 13 children, she grew up during the Great Depression. As a young girl, she experimented with slate, mud, sticks, and chalk as free materials for making art. She studied to become a nurse at Cincinnati College of Nursing and Health under a World War II education program and later on found her training in anatomy, biology, and the use of plaster valuable in making art. In 1946 she married James Schwartz, an intern at the Cincinnati General Hospital. By 1949, both were stationed in Japan during the postwar occupation in an area between Hiroshima and Nagasaki, and she contracted polio, which paralyzed her for a time. As part of her rehabilitation, she studied calligraphy with the artist Tshiro. After her return to the United States, she continued to experiment with media, including metal and plastic sculpture. In this period, she had to have surgery for a thyroid tumor, possibly from exposure to plastic solvents.

By 1966, Schwartz had begun working with light boxes and mechanical devices like pumps, and she became a member of the Experiments in Art and Technology (E.A.T.) group that brought together artists and engineers as collaborators. In 1968 her kinetic sculpture Proxima Centauri was included in the important early show of machine art at the Museum of Modern Art in New York City titled The Machine as Seen at the End of the Mechanical Age. This sculpture was later used as a special effect for a Star Trek episode, in which it served as a prison for Spock's Brain. Schwartz was brought into Bell Labs by Leon Harmon, where she was a "resident visitor" from 1969 to 2002. While there, she worked with engineers John Vollaro and others, including extensive collaboration with Ken Knowlton, a software engineer and computer artist who had also had work in the 1968 Museum of Modern Art show. That collaboration produced a series of computer-animated films, each built from the output of visual generative algorithms written by Knowlton and edited by Schwartz. She took classes in programming at The New School for Social Research around that same time. She began making paintings and films with a combination of hand painting, digital collaging, computer and other image processing, and optical post-processing, initially working with Knowlton's 1963 computer graphics language, BEFLIX, his subsequent graphics language EXPLOR and also SYMBOLICS. By 1975, Schwartz and Knowlton, in collaboration, had made ten of the first digitally created computer-animated films to be exhibited as works of fine art: Pixillation, Olympiad, UFOs, Enigma, Googolplex, Apotheosis, Affinities, Kinesis, Alae, and Metamorphosis. While those 10 films did not yet involve the digital editing of images or image sequences, Schwartz having edited them as physical film the conventional way, in her work of subsequent periods, Schwartz's creative cobbling together of different, often cutting-edge technologies has been said to prefigure what would later become common practice in such programs as Photoshop and Final Cut Pro. Schwartz contributed to scientific research on color perception and sound. She had been a consultant at AT&T Bell Laboratories, IBM's Thomas J. Watson Research Laboratory, Exxon Research Center, and Lucent Technologies Bell Labs Innovations.

Schwartz died at her home in Manhattan on October 12, 2024, at the age of 97.

Schwartz used the works of Leonardo da Vinci extensively in experiments with computers. One notable work she created is Mona/Leo, for which she compared the image of a Leonardo da Vinci self-portrait with the Mona Lisa, matching the two faces feature by feature to show their underlying structural similarity. Specifically, she replaced the right side of the Mona Lisa with the flipped left side of a red chalk self-portrait of da Vinci. Superimposed lines drawn on the image showing the close alignments of the bottom of the eye, eyebrow, nose and chin prompted her to argue that the Mona Lisa is in part a cryptic self-portrait of the artist, an idea that has been referred to as the "Mona Leo theory". In further experiments along these lines, she removed the gray tones in Leonardo da Vinci's self-portrait and superimposed the Mona Lisa eye over it. Not everyone is convinced by her argument for the identity of Leonardo da Vinci and the Mona Lisa; one common counter-argument is that the similarities are due to both portraits having been created by the same person and therefore bearing the hallmarks of a characteristic style. Additionally, though the drawing on which Schwartz based the comparison is held to be a self-portrait, there is no firm historical evidence to support this theory. In a similar experiment, Schwartz used a custom ray-tracing program to investigate the perspective anomalies in the drawing of da Vinci's fresco painting of the Last Supper. Her 3D computer-generated model showed that the perspective lines in the Last Supper do match up with (extend) the architecture of the refectory of Santa Maria delle Grazie in Milan where the fresco is located, but only because of certain changes Leonardo made to standard linear perspective. Other works also include 1970's Pixillation, her first computer-animated film, and 1971's Olympiad.

Lillian Schwartz is recorded with the occupation artist. Recorded as artist, film editor, film director, cinematographer and sculptor.