# JPEG by Jan Robert Leegte

*Art Blocks Presents (Factory), project 371 · 275 outputs · minted 31 October 2022 · CC BY-NC-ND 4.0*

![JPEG #0: three horizontal gradient bands, dark green, violet and orange, on a green-to-violet ground, with visible 8-by-8 compression blocks](https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/371000000.png)
*JPEG #0, a "triple horizontal" output, one of the two images the artist uses on his own work page. Render: Art Blocks media proxy.*

## The work and its context

JPEG is project 371 on the Art Blocks contract `0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270`. The index records 275 of 275 invocations, a plain JavaScript runtime (`js@na`), a 1:1 aspect ratio and the licence `CC BY-NC-ND 4.0`. Its vertical is "factory" and its website is jpeg.leegte.org [^S01]. Art Blocks now files it under Presents and as an "Art Blocks 500" release, with Factory as its heritage category [^S02].

Each output is a coloured ground with one, two or three gradient rectangles set inside it. The whole image is then saved as a heavily compressed JPEG and blown up, so that the blocky artefacts of the codec become the surface of the picture [^S01]. Leegte's description starts from infrastructure: "Compression has been the driving force behind the image-based internet since the early 90s" [^S01]. It closes on the claim that gives the work its title: "This is not a JPEG depicting an image. The JPEG is the image itself" [^S01].

Jan Robert Leegte, born in 1973 and based in Amsterdam, was "one of the first Dutch artists to make art on and for the internet", making website-based works from 1997 [^S03]. He studied architecture at Delft before switching to fine art and interaction design in Rotterdam [^S03]. His later work turns interface elements such as scrollbars, Photoshop marquees and Google Maps into objects, prints and installations [^S04]. He is represented by Upstream Gallery, Amsterdam, which also listed JPEG among its NFT releases [^S05][^S06], and he shows with OFFICE IMPART in Berlin [^S07]. Upstream's biography names the Centre Pompidou, Stedelijk Museum Amsterdam and the Van Gogh Museum among the institutions associated with his work [^S08].

## Conception and development

JPEG sits inside a long engagement with compression. Leegte told Anika Meier in 2026 that "JPEG compression has fascinated me since the 1990s" [^S09]. He told Fakewhale in 2023 that his web work *Scan* (1997) was "trying to show the beauty of JPEG compression", and called it "the very first predecessor of JPEG" [^S10].

The nearest ancestor is *Compressed Landscapes* (2016), a series of websites that fetch online photographs tagged with landscape words and compress them heavily [^S11][^S09]. Leegte's page describes them as an attempt to "reinvigorate the impressionistic plein air method, by swapping the actors" [^S11]. The Van Gogh Museum showed five of them in *Van Gogh Inspires: Jan Robert Leegte's Compressed Landscapes*, from 6 May to 7 November 2021, beside landscapes from its collection [^S12][^S13]. One of the series, *Compressed Forests*, belongs to the Cultural Heritage Agency of the Netherlands and is on permanent loan to the Centraal Museum, Utrecht [^S14].

For JPEG he removed the photograph altogether. "The work gradually lost representation altogether and became about the material itself," he told Meier. It was "simply code creating the conditions for the JPEG compressor to reveal its own artifacts" [^S09]. The project description quotes Mark Rothko, "A painting is not a picture of an experience, but is the experience", and proposes the term "compressionism" for a work in which "the machine speaks in its own raw language" [^S01]. In the interview Leegte put it more simply: "Rothko was doing with paint what I wanted to do with JPEG compression" [^S09]. In a Dutch interview of June 2023 he said he tries to evoke emotion "by challenging the materiality of the JPEG compressor" (translated here) [^S15].

The work was also meant as an argument about NFTs. Leegte said it "became a critique of the idea that NFTs are merely images to be traded and stored" [^S09]. In the 2023 interview he contrasted his works with the typical NFT, which is "for 99%" a metadata file pointing to a picture (translated) [^S15]. The description stresses that the JPEG is generated at the moment of viewing, "responsive and not scaling", and that "You can literally drag the JPEG out from the browser window" [^S01].

## How the work was constructed

The program is a single script of 5,364 bytes, SHA-256 `49b0aa0e246ca205e144cbc849dd95eba794dda6e66dcc7a6e1f1a30cc613544`. It was read in full and run unchanged for all 275 token hashes in a stubbed browser, recording every drawing call; the layouts matched the published traits for every token (own computation) [^S01].

The script builds two small generators from the two halves of the token hash, discards the first million values from each, and then alternates between them [^S01]. It draws, in order:

- a layout number from 0 to 100
- a colour mode, and whether the first colour is "dark" or fully random
- eight colours, each derived from the one before
- a gradient angle for the ground and for each of three fields
- two split points, a margin and a gap [^S01]

The colours form a chain. The ground starts from a random or dark colour, and each later colour is a step away from the previous one. In "walk" mode each channel can move by up to 128 levels, so the chain is close to random. In "walkslow" it moves by up to 75. In "walkcolor" all three channels move by the same amount, which keeps a single tint [^S01]. This is the range the description promises, "from monochromatic tones to the brutality of complete randomness" [^S01]. Every gradient runs from a point on the left edge to the top-right corner, so the light in every JPEG falls on the same diagonal (code reading) [^S01].

The layout number decides the composition. The table compares the program's rules with the published traits [^S01].

| Layout in the code | Rule (layout number) | Published traits | Count of 275 |
| --- | --- | --- | --- |
| Triple horizontal | 0 to 15, if the first split is at least 0.2 | triple, horizontal | 34 |
| Triple vertical | 16 to 20, same condition | triple, verticle | 14 |
| Double vertical | 21 to 40 | double, verticle | 68 |
| Double horizontal | 41 to 80 | double, horizontal | 102 |
| Single field | 81 to 100, or a failed triple | single, none | 57 |

The colour mode is not published as a trait. Running the script gives 138 "walk", 69 "walkslow" and 68 "walkcolor" outputs, and 51 chains that begin with a dark colour (own computation) [^S01].

Then comes the compression. The canvas is drawn at one-eighth of the window's size, so a 1,920 by 1,080 window yields a 240 by 135 pixel image. That image is exported with the browser's JPEG encoder at quality 0.3 and stretched back to full size with smoothing switched off [^S01]. Each 8 by 8 block of the codec therefore becomes a 64-pixel square on screen, and the gradients break into visible steps. When the window is resized the image is redrawn and recompressed after a half-second pause [^S01].

## Quirks in the algorithm

Checked against all 275 token records. Code-only points are marked.

1. **The official renders use a coarser grid.** The script checks whether the window is exactly 2,400 pixels wide, and logs the word "test" when it is. In that case it draws the canvas at one twenty-fourth of the size instead of one eighth [^S01]. The Art Blocks renders are 2,400 pixels square, so every official image is a 100 by 100 pixel JPEG enlarged 24 times (own computation). The rule tests width only, so a 2,400-pixel-wide window of any height gets the coarse version (code reading).
2. **Three "triples" that show two bands.** A triple's first band is sized from the product of two random splits, less half the gap. When both are small the band can shrink to nothing. At the 100-pixel render scale, #110 and #203 have a first band less than one canvas pixel high, and #208's is negative, which leaves only a faint line in the margin (own computation, confirmed on the renders) [^S01]. All three are labelled "triple". At the larger canvas of a 1,920 by 1,080 window only #208 stays below one pixel.
3. **Failed triples become singles.** A triple needs the first split to be at least 0.2. When it is not, the program skips both double layouts and draws a single field. Five tokens with triple layout numbers are singles for this reason: #37, #58, #135, #185 and #264 [^S01].
4. **"Verticle".** The published Orientation value is spelled "verticle", the same spelling the script uses in its console messages [^S01].
5. **Rounding changes the odds.** The script rounds its random numbers, so the end values of each range come up half as often. The first colour is dark when a draw from 0 to 3 rounds to 0. That happens one time in six, not one in four as the range suggests, and 51 tokens have it [^S01]. The gap between fields likewise takes its smallest and largest values (0 and 4) least often: 33 and 28 tokens, against 62 to 79 for the middle values (own computation).
6. **Monochrome that rarely stays monochrome.** In "walkcolor" mode all channels move together, but a channel that passes 255 or 0 wraps round to the other end. That breaks the tint. Only 10 of the 68 "walkcolor" tokens keep one tint across every colour they draw, among them #33, #155 and #258 [^S01]. The wrap also subtracts 255 rather than 256, an off-by-one that is invisible in practice (code reading).
7. **Dead and unused code.** The colour function has a "gray" mode that is never called. A variable named `sizer` is never used. The third field's colours and gradient are computed for every token but drawn only on the 48 triples. Console messages from development, such as the layout name, are left in [^S01].
8. **The compressor belongs to the browser.** The description says the work uses "no dependancies" and "generates a standard JPEG" [^S01]. The encoding is done by the viewer's own browser, though, and different browsers implement JPEG encoding differently. The artefacts may therefore vary between browsers (code reading).

## The most coveted variants

No source found names grails, auction sales or collector-defined sets for JPEG. The families below come from the program and the data, not from documented market preferences.

**Triple vertical (14 of 275).** This is the rarest layout: #15, #18, #21, #36, #49, #107, #108, #134, #155, #158, #171, #229, #256 and #272 [^S01]. #155 combines it with a dark start and one of the ten unbroken tints, giving three green columns on a darker green ground.

![JPEG #155: three vertical green bands of different lightness on a dark green ground](https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/371000155.png)
*JPEG #155, triple vertical in a single green tint. Render: Art Blocks media proxy.*

![JPEG #21: a narrow magenta strip, a yellow column and a wide red-to-green field on a thin mauve margin](https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/371000021.png)
*JPEG #21, triple vertical in a "walk" palette with a very narrow margin. Render: Art Blocks media proxy.*

**Single fields (57).** These are the works closest to the Rothko reference: one gradient rectangle inside a gradient ground. #33 is one of the unbroken tints, a dark brown field on a lighter brown ground.

![JPEG #33: a dark brown gradient square inside a lighter brown frame](https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/371000033.png)
*JPEG #33, a single field in one brown tint. Render: Art Blocks media proxy.*

**The artist's choices.** Leegte's own page for the work illustrates it with two outputs. By visual comparison with the renders they are #0, the triple horizontal shown at the top of this essay, and #12, a blue-violet single field on a gold ground [^S16][^S01].

**Hidden triples.** #110, #203 and #208 are published as triples but read as doubles in the official render (quirk 2) [^S01].

![JPEG #208: two horizontal bands, violet and pale green, with a thin line near the top margin where the third band collapsed](https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/371000208.png)
*JPEG #208, labelled "triple", with its first band collapsed to a hairline. Render: Art Blocks media proxy.*

## Notable collectors and the market

**Le Random**, the generative-art collection and institution, holds two JPEGs. Its catalogue records #0, the artist's own illustration of the work, as acquired on 11 August 2023, and #233 on 3 October 2023 as acquisition #465 [^S17][^S18]. In the index both sit in the same address, which fits a single collection [^S01]. #233 was the last JPEG minted [^S01].

![JPEG #233: a large pale mint-green field inside a narrow dark green frame](https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/371000233.png)
*JPEG #233, the last token minted, in the Le Random collection. Render: Art Blocks media proxy.*

At retrieval the 275 tokens were held by 139 addresses. The largest holding was 19, then 15, and two wallets held 11 each [^S01]. No source found ties those addresses to named collectors, and none of the AB5D wallets holds a JPEG [^S01].

No JPEG has been found at a public auction house. Marketplace totals are consistent with each other: VERSE gives a sales volume of $1,058,361 and OpenSea about $1.1 million, with a 7.5 per cent creator fee [^S19][^S20]. VERSE gives a highest sale of $6,130, although OpenSea shows at least one last sale near $8,000, so the record is not settled [^S19][^S20]. The lowest listing in the index was 0.848 ETH [^S01].

## JPEG in physical form

Leegte's site lists a second work, *JPEG* (2023), alongside the 2022 NFT collection, which it describes as "Collection of 275 NFTs, on-chain, HTML DOM, JPEG, served by Art Blocks" [^S16][^S21]. The 2023 page carries no text. Its photographs show framed colour-field panels with the same stepped block structure, hung singly and in groups in a white gallery [^S21].

![A framed JPEG panel: a pink-to-teal gradient with visible compression steps, hung on a white wall](https://www.leegte.org/work/jpeg-physical/jpeg-1.jpg)
*JPEG, 2023, a physical panel. Photo: Jan Robert Leegte, leegte.org.*

![Four JPEG panels of different sizes, in reds, blues, greens and teal, hung along a gallery wall](https://www.leegte.org/work/jpeg-physical/jpeg-3.jpg)
*JPEG, 2023, installation view. Photo: Jan Robert Leegte, leegte.org.*

The gallery listings supply what the site omits. The physical JPEGs are prints on aluminium, an ongoing series rather than a fixed edition:

- **No Content: Contemplations on Software**, Upstream Gallery, 6 May to 17 June 2023, the first showing of "works from the JPEG series", beside *Scrollbars* [^S22][^S15].
- **Upstream Focus: JPEG**, Upstream Gallery, 21 February to 30 March 2024, describing "code and codec transferred to a plate of aluminium" [^S23].
- **Selection**, OFFICE IMPART, Berlin, 5 September to 2 November 2024: *JPEG (0xc5475b50c18592d0ae)*, 2023, 100 × 100 cm, and two works of 2024 at 70 × 70 and 80 × 80 cm, all ChromaLuxe prints in aluminium frames [^S24]. Digicult's review said Leegte "presents not the image as JPEG, but the JPEG itself" [^S25].
- **Later works**: a 65 × 65 cm JPEG of 2025 and a 90 × 65 cm one of 2026 at OFFICE IMPART [^S07], and *JPEG (HM6526300200 - triptych)*, 2026, dye sublimation on aluminium, 200 × 300 cm, at Upstream [^S08].
- **Art Basel, Zero 10**, 18 to 21 June 2026, a shared stand of three bodies of work "united by an investigation into compression": *Sightings*, *Orbits* and JPEG [^S26].

Several physical works are titled with a hexadecimal string, like a hash. None of the four published strings matches the start of any of the 275 token hashes (own computation) [^S01][^S24][^S07]. The prints are therefore new outputs, not prints of tokens, and there is no evidence of a print programme for holders. The line continues in *Sightings* (Upstream, 5 September to 24 October 2026), images that "look photographic without being photographs at all" [^S27].

## The mint

Invocation 0 was minted on 19 September 2022 at 18:06:47 UTC, and #1 and #2 on 20 September. All three came before the project's activation on 24 September and before the public sale [^S01]. None is held by the artist address today [^S01].

The public sale was a Dutch auction of 275 works, falling from 1.5 ETH to 0.15 ETH. It opened on 31 October 2022 at "10am PST / 1pm ET / 6pm CEST", 17:00 UTC in the index [^S05][^S01]. The first public mint came at 17:04:35 UTC, and only 18 tokens had been minted by 17:10 [^S01]. Then the edition went at once: 215 tokens were minted within the minute starting 17:12, in five bursts, and the last at 17:12:59 [^S01]. Buyers apparently waited for a particular price step. The settling price is not recorded in the index, whose price field reads 0, or in any source inspected [^S01].

The project record adds that "All primary sales will be carbon compensating pre-merge NFTs with a donation to Trees for All" [^S01].

## Copyright and licensing

The index records `CC BY-NC-ND 4.0`, linked to the Creative Commons deed [^S01][^S28]. On that licence the images may be shared non-commercially with attribution, but not adapted. So the work's invitation to drag the JPEG out of the browser is within the licence, but cropping or reworking the file is not [^S01][^S28]. The program has no separate code licence and uses no library [^S01]. The photographs of the physical works belong to the artist and are linked here, not re-hosted.

## Significance and limitations

JPEG is compact and conceptually clear. A program of about five kilobytes sets up a Rothko-like arrangement of fields and then hands the picture to the browser's compressor, so that the codec's blocks become the image. It fits within nearly three decades of Leegte's work on compression, from *Scan* (1997) through *Compressed Landscapes*, and it removes the photograph altogether [^S10][^S09][^S11]. It also became a studio series: since 2023 JPEGs on aluminium have been shown in Amsterdam, Berlin and at Art Basel [^S23][^S24][^S26]. Leegte has said of NFTs that "I have found my audience after 25 years" [^S29]. Its critical reception has been modest. CADA's column "On Compressionism" singles it out as a work that "abused the jpeg file format to showcase the compression artifacts themselves as art" [^S30]. The program is small enough to verify completely, and a special case makes the official renders coarser than the live work.

Limitations: no auction sales, grails or collector-named variants could be sourced, the only named collector is Le Random, and the colour logic that most distinguishes the outputs is invisible in the published traits.

Unresolved research questions:

1. At what price did the Dutch auction settle? The Art Blocks community wiki's Dutch auction results page refused automated access and is the main lead, with Leegte's posts on X.
2. Were the physical JPEGs made with the same program as the tokens, and what do the "HM" titles encode? The 2023 Dutch interview's "2 NFTs from a series of 27" also needs checking: 27 may be a transcription error for 275.
3. Did Leegte intend the 2,400-pixel special case to control the look of the Art Blocks renders? A 2,400-wide render beside a 2,399-wide one would show it.
4. Every quotation taken from a web page (all but the project description in the index) came from automated WebFetch extraction and is unconfirmed, notably those from Right Click Save, Fakewhale, Galleryviewer (translated), the gallery pages, Le Random, jpg100 and CADA. Two further Right Click Save phrases, contrasting the Van Gogh paintings with his machine-made landscapes, were cut because a second extraction did not return them. CADA also calls the release "curated", while the index records it as Factory.
5. Which marketplace figure is the true record sale: VERSE's $6,130 or a higher OpenSea sale?

## Bibliography

### Primary

[^S01]: Art Blocks public GraphQL index, `projects_metadata` for project 371 (including the full program, description and charitable note) and `tokens_metadata` for all 275 tokens, retrieved 2026-09-20 via https://artblocks-mainnet.hasura.app/v1/graphql. Script run for every token hash in a stubbed browser environment by the AB5D researcher. Collection page: https://www.artblocks.io/collection/jpeg-by-jan-robert-leegte
[^S05]: Jan Robert Leegte, "JPEG, 2022: About / FAQ". Read 20 September 2026. https://jpeg.leegte.org/about.html (project site: https://jpeg.leegte.org/)
[^S16]: Jan Robert Leegte, "JPEG, 2022", work page. https://www.leegte.org/work/jpeg
[^S21]: Jan Robert Leegte, "JPEG, 2023", work page with photographs. https://www.leegte.org/work/jpeg-physical
[^S11]: Jan Robert Leegte, "Compressed Landscapes series, 2016". https://www.leegte.org/work/compressedlandscapes
[^S28]: Creative Commons, Attribution-NonCommercial-NoDerivatives 4.0 International. https://creativecommons.org/licenses/by-nc-nd/4.0
[^S10]: Fakewhale, "Jan Robert Leegte in Conversation with Fakewhale", Fakewhale LOG, 18 December 2023. https://log.fakewhale.xyz/jan-robert-in-conversation-with-fakewhale/
[^S15]: Pienk de Gaay Fortman, "Digitale media als kunst op zich: interview met internetkunstenaar Jan Robert Leegte", Galleryviewer, 1 June 2023 (in Dutch; translations by the AB5D researcher). https://galleryviewer.com/en/article/1809/digitale-media-als-kunst-op-zich-interview-met-in
[^S29]: JPG, "We do a Jan-Robert Leegte special, as a treat", jpg100 newsletter, on the release of *Web* (20 September 2023). https://jpg100.substack.com/p/we-do-a-jan-robert-leegte-special

### Exhibitions and galleries

[^S12]: Van Gogh Museum, "Van Gogh Inspires: Jan Robert Leegte", exhibition page (on view until 7 November 2021). https://www.vangoghmuseum.nl/en/visit/whats-on/exhibitions/overview-past-exhibitions/van-gogh-inspires-jan-robert-leegte
[^S13]: Upstream Gallery, "Jan Robert Leegte's Compressed Landscapes at the Van Goghmuseum", news item. https://www.upstreamgallery.nl/news/935/jan-robert-leegtes-compressed-landscapes-at-the-van-goghmuseum
[^S14]: LI-MA, "Compressed Forests (2016): Jan Robert Leegte", case study summary. https://li-ma.nl/article/compressed-forests-case-study-summary/
[^S23]: Upstream Gallery, "Upstream Focus: JPEG", Jan Robert Leegte, 21 February to 30 March 2024. https://www.upstreamgallery.nl/exhibitions/246/upstream-focus-jpeg
[^S24]: OFFICE IMPART, "Jan Robert Leegte: Selection", Berlin, 5 September to 2 November 2024. https://officeimpart.com/jan-robert-leegte-selection
[^S07]: OFFICE IMPART, "Jan Robert Leegte", artist page. https://officeimpart.com/jan-robert-leegte
[^S08]: Upstream Gallery, "Jan Robert Leegte", artist page. https://www.upstreamgallery.nl/artists/60/jan-robert-leegte
[^S26]: Upstream Gallery, "Art Basel | Zero 10", 18 to 21 June 2026. https://www.upstreamgallery.nl/art-fairs/145/art-basel-zero-10
[^S27]: Upstream Gallery, "Sightings", Jan Robert Leegte, 5 September to 24 October 2026. https://www.upstreamgallery.nl/exhibitions/273/sightings

### Video and audio

Titles and channels as returned by YouTube's oEmbed service on 21 September 2026. None is about the JPEG NFTs directly; the first covers their predecessor. The videos were identified but not watched for this draft.

- "Jan Robert Leegte - Compressed Landscapes", Van Gogh Museum. https://www.youtube.com/watch?v=XopQS0AOYi8
- "Artist Interview with Jan Robert Leegte - Exploration of Digital Materials", Office Impart. https://www.youtube.com/watch?v=piKdU4Qugyc
- "Interview Jan Robert Leegte |Exposition La nature reconfigurée | Saison 20-21", Centre des Arts d'Enghien-les-Bains. https://www.youtube.com/watch?v=0IWEVCplMrA
- "【Web as a Medium】Gallery Walkthrough | Jan Robert Leegte - "Text Document Out of Focus"", NEORT++. https://www.youtube.com/watch?v=HjmN4BgmaIU
- "Jan Robert Leegte on his artwork ''In the Blink of an Eye''", VU Library. https://www.youtube.com/watch?v=M-JZLYmbME0

### Criticism, collecting and market

[^S09]: Anika Meier, "An Artist of the Internet | Jan Robert Leegte", Right Click Save, 14 August 2026. https://www.rightclicksave.com/article/an-artist-who-spans-the-internet-age-jan-robert-leegte-interview
[^S30]: diid, "On Compressionism", The Center for the Advancement of Digital Art (CADA), 28 February 2024 (date from the republication on Bitget News via Cointime). https://www.cada.art/columns/compressionism and https://www.bitget.com/news/detail/12560603918174
[^S06]: Upstream Gallery, "JPEG", NFT release page. https://www.upstreamgallery.nl/nft/29/jpeg
[^S22]: Upstream Gallery, "No Content: Contemplations on Software", Jan Robert Leegte, 6 May to 17 June 2023. https://www.upstreamgallery.nl/exhibitions/230/no-content-contemplations-on-software
[^S02]: Art Blocks, "JPEG by Jan Robert Leegte", Presents project page. https://artblocks.io/collections/presents/projects/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/371
[^S19]: VERSE, "JPEG by Jan Robert Leegte", series page. https://verse.works/series/jpeg-by-jan-robert-leegte
[^S04]: Kanbas, "Jan Robert Leegte", artist page. https://kanbas.art/artists/jan-robert-leegte
[^S03]: Wikipedia, "Jan Robert Leegte". Read 21 September 2026. https://en.wikipedia.org/wiki/Jan_Robert_Leegte
[^S17]: Le Random, "JPEG #0 by Jan Robert Leegte", collection record. https://www.lerandom.art/collection/jpeg-0
[^S18]: Le Random, "JPEG #233 by Jan Robert Leegte", collection record. https://www.lerandom.art/collection/jpeg-233 (artist page: https://www.lerandom.art/artists/jan-robert-leegte)
[^S20]: OpenSea, JPEG by Jan Robert Leegte collection, read 21 September 2026. https://opensea.io/collection/jpeg-by-jan-robert-leegte
[^S25]: Redazione Digicult, "Jan Robert Leegte: Selection at Office Impart", Digicult, 16 September 2024. https://digicult.it/articles/art/jan-robert-leegte-selection-at-office-impart/

### Further reading

- Filippo Lorenzin, "How Images Created by Algorithm Channel van Gogh", Hyperallergic, 14 July 2021 (on *Compressed Landscapes*). https://hyperallergic.com/jan-robert-leegte-algorithm-images-channel-van-gogh/
- Dominique Moulon, "Art Basel", Art in the Digital Age, 1 July 2026 (on *Sightings*). https://artinthedigitalage.net/en/2607EN_artBas.html
- Aimee Dawson, "Art Market Report: Digital art sales gather pace", Art Basel, 3 July 2026 (Leegte's *Orbits* at Zero 10). https://www.artbasel.com/stories/art-basel-2026-digital-art-collectors-zero-10
- Art Blocks Community Wiki, "Dutch Auctions" (results table; not readable by automated fetch). https://artblocks.wiki/Community/Dutch-Auction-Results
- Earlier AB5D essay on this series. https://ab5d.xyz/series/jpeg-by-jan-robert-leegte/