The Night Watch, Rembrandt: Analysis, Meaning The Painting So famous a picture, which in the past has been almost as much abused as praised, has not surpringly triggered an immense amount of analysis, only some of which can be discussed here. Known for its colossal size (roughly 12 feet x 14 feet), the canvas - when compared to earlier copies, like the version (c.1650) by Gerrit Lundens, now in the National Gallery, London - has obviously been trimmed, probably when it was moved to the Town Hall in 1715. About 60 cm, incorporating two background figures and a baby, have been removed from the left side, and lesser amounts from the other three sides. This unbalances the composition (the arch in the background was originally nearer the center) and compresses the figures into too confined a space. In all twenty-six figures are now fully or partially visible, including three children (or dwarves) and small parts of five more figures can just be discerned in the background. To the right of the arch there is a shield, added later, bearing the name of eighteen of the persons portrayed.

According to two of them, who gave evidence on Rembrandt's behalf during the investigation into his financial affairs in 1658, he was paid a total of 1,600 guilders - the sitters contributed an average of 100 guilders each, the sum varying with their prominence in the picture. Inaccurate Title At least since the cleaning of the picture in 1946-7, it has been evident that the scene takes place in daylight, with the sun streaming down from the top left. A further cleaning completed in 1980 showed that the tones are predominantly cool. The traditional title The Nightwatch which dates from the late 18th century, is therefore incorrect but it would be absurdly pedantic to suggest changing it now. Key Figures Demonstrating his mastery of sunlight and shade, Rembrandt leads the eye to the three key characters among the ensemble - the two officers in the centre (from whom the painting gets its original title), and the small girl in the centre left background. Behind them the company's colours are carried by the ensign, Jan Visscher Cornelissen.

The senior and central officer, Captain Franz Banning Cocq (1605-55), is dressed in black with a red sash. His Lieutenant, Willem Van Ruytenburch, is in pale yellow with a white sash, and carries a ceremonial lance. The girl to the left of and behind Banning Cocq acts as a sort of pictorial mascot. She carries the guild's costly drinking horn and, at her girdle, a dead fowl, the prominent claw of which is an emblem of the Musketeers. This bird may also be intended as a pun on the Captain's name. Other Subjects The man in front of the girl is wearing a helmet with an oak leaf, another traditional emblem of the Musketeers or Arquebusiers. Several figures are shown handling their weapons. One pours powder down the barrel of his musket; another, to the right and behind the Lieutenant, is attending to the priming pan; a third - the small figure in a helmet directly behind Banning Cocq - appears to be firing his musket into the air.

Some characters are represented much more distinctly than others, while the eighteen who subscribed are supplemented by almost as many subordinate figures, included by Rembrandt for pictorial effect. Adding these extra subjects also allowed him to make use of his broad repertoire of figure drawing and other studies. A Militia Company Portrait Local militia companies were raised during the 16th century during the Dutch war of Independence, to protect the cities from invasion by the Spanish army active in Flanders. But by Rembrandt's time they were no longer employed in a military capacity except on the borders, and were kept in being purely for symbolic reasons. It seems that the company in Rembrandt's painting is marching out to take part in a shooting match. Various other interpretations of the picture involving illusions to past and contemporary historical events have also been put forward, but they are all now discredited. The meaning of the painting is likely to be purely that of a role portrait, the theme of which is the 'citizen in arms'.

Militia Portrait Transformed Visually, The Nightwatch tranforms the prosaic genre of militia portraiture into an action picture - a work of great movement, dazzling inventiveness and splendour or, as some 19th century critics maintained, a widely over-inflated account of a very ordinary event, or a cross between a portrait and genre painting . It marked at once a revolution in, and the swan song of, the militia company portrait, for shortly afterwards, the demand for these portraits ceased and artists turned to the quieter and more humdrum scenes of the guild portrait and the portrait of the board of hospital governors. (Compare his novel treatment of militia portraits with his treatment of 'dissection portraits' as in his famous Anatomy Lesson of Dr. Nicolaes Tulp (1632, Mauritshuis). Moreover, Rembrandt himself was never to paint such a flamboyant or such a fully Baroque picture again. However, one thing is certain; the painting was a major success at the time, and more than justified his status as one of the best portrait artists in Europe.

The story that it was disliked by those portrayed and that it was the cause in the decline in Rembrandt's contemporary reputation (which did occur to some extent in the late 1640s and 1650s) is a romantic fiction invented in the 19th century. Indeed it is a wonder how this fiction arose, since there is abundant evidence to show that for more than a hundred years after it was painted, The Nightwatch was widely regarded as Rembrandt's most celebrated work. Rembrandt One of the greatest Dutch Realist artists , Rembrandt is famous for his penetrating and powerful portraiture, of both individuals and groups. This, together with his supreme painting skills, his atmospheric handling of light, and his mastery of chiaroscuro, make him one of the best artists of all time . The Night Watch | The Warriors | Fandom powered by Wikia Edit The painting is renowned for three characteristics: its colossal size (363 cm × 437 cm), the effective use of light and shadow, and the perception of motion in what would have traditionally been a static military portrait. The painting was completed in 1642, at the peak of the Dutch Golden Age of painting.

It depicts the eponymous company moving out, led by Captain Frans Banning Cocq (dressed in black, with a red sash, and his lieutenant, Ruytenburch Willem van Ruytenburch (dressed in yellow, with a white sash). With effective use of sunlight and shade, Rembrandt leads the eye to the three most important characters among the crowd, the two gentlemen in the centre (from whom the painting gets its original title), and the small girl in the centre left background. Behind them, the company's colours are carried by the ensign, Jan Visscher Cornelissen. Rembrandt has displayed the traditional emblem of the Arquebusiers in the painting in a natural way: the girl in yellow dress in the background is carrying the main symbols. She is a kind-of mascot herself: the claws of a dead chicken on her belt represent the clauweniers; the pistol behind the chicken stands for 'clover'; and, she is holding the militia's goblet. The man in front of her is wearing a helmet with an oak leaf, a traditional motif of the Arquebusiers. The dead chicken is also meant to represent a defeated adversary.

The color yellow is often associated with victory. Another interpretation proposes that Rembrandt designed this painting with several layers of meaning, as was common among the most talented artists. Thus, the Night Watch is symmetrically divided, firstly to illustrate the union between the Dutch Protestants and the Dutch Catholics, and secondly to evoke the war effort against the Spaniards. For instance, accordingly to Rembrandt's multilayered design, the taller Captain (in black) symbolizes the Dutch Protestant leadership, loyally supported by the Dutch Catholics (represented by the shorter Lieutenant, in yellow). Moreover, all characters of this painting were conceived to present double readings. Militia Company of District II under the Command of Captain Frans Banninck Cocq, Known as the ‘Night Watch’, Rembrandt Harmensz. van Rijn, 1642 - Rijksmuseum Militia Company of District II under the Command of Captain Frans Banninck Cocq, Known as the ‘Night Watch’, Rembrandt Harmensz. van Rijn, 1642 Show details Add to your set.

Number of favorites: 15,653 Save in your Rijksstudio Zoom in Zoom out Militia Company of District II under the Command of Captain Frans Banninck Cocq, Known as the ‘Night Watch’, Rembrandt Harmensz. van Rijn, 1642 oil on canvas, h 379.5cm × w 453.5cm × w 337kg. More details Rembrandt’s largest, most famous canvas was made for the Arquebusiers guild hall. This was one of several halls of Amsterdam’s civic guard, the city’s militia and police. Rembrandt was the first to paint figures in a group portrait actually doing something. The captain, dressed in black, is telling his lieutenant to start the company marching. The guardsmen are getting into formation. Rembrandt used the light to focus on particular details, like the captain’s gesturing hand and the young girl in the foreground. She was the company mascot.

2 hours ago - 42 works 0 0 Make your own creations with this work Identification Title(s) Militia Company of District II under the Command of Captain Frans Banninck Cocq, Known as the ‘Night Watch’ Officers and other civic guardsmen of District II in Amsterdam, under the command of Captain Frans Banninck Cocq and Lieutenant Willem van Ruytenburch, known as ‘The Night Watch’ Object type inscription Description Het korporaalschap van kapitein Frans Banninck Cocq en luitenant Willem van Ruytenburch, bekend als de 'Nachtwacht'. Schutters van de kloveniersdoelen uit een poort naar buiten tredend.

Op een schild aangebracht naast de poort staan de namen van de afgebeelde personen: Frans Banninck Cocq, heer van purmerlant en Ilpendam, Capiteijn Willem van Ruijtenburch van Vlaerdingen, heer van Vlaerdingen, Lu[ij]tenant, Jan Visscher Cornelisen Vaendrich, Rombout Kemp Sergeant, Reijnier Engelen Sergeant, Barent Harmansen, Jan Adriaensen Keyser, Elbert Willemsen, Jan Clasen Leydeckers, Jan Ockersen, Jan Pietersen bronchorst, Harman Iacobsen wormskerck, Jacob Dircksen de Roy, Jan vander heede, Walich Schellingwou, Jan brugman, Claes van Cruysbergen, Paulus Schoonhoven. De schutters zijn gewapend met lansen, musketten en hellebaarden. Rechts de tamboer met een grote trommel.

Tussen de soldaten links staat een meisje met een dode kip om haar middel, rechts een blaffende hond. Linksboven de vaandrig met de uitgestoken vaandel. Creation h 379.5 cm × w 453.5 cm × w 337 kg × w 170 kg Subject On loan from the City of Amsterdam Acquisition The Golden Age reloaded : die Faszination niederländischer Malerei des 17. Jahrhunderts : Sammlungen der Villa Vauban und des Rijksmuseums Amsterdam , Martina Sitt, afb. p. 60 Rembrandt : the painter thinking , Ernst van de Wetering, p. 141, 260, fig. 121, 238 Rembrandt in perspectief : de veranderende visie op de meester en zijn werk , Jaco Rutgers, Mieke Rijnders, Xander van Eck, p. 22, 25, 180, afb.

1.6, 1.9, 6.6 Hollanders van de Gouden Eeuw , Maarten Hell, Emma Los, Norbert E. Middelkoop, Tom van der Molen, Paul Spies, p. 68-69, afb. 58 Rembrandt : the painter at work , Ernst van de Wetering, p. 179, afb. 245, 196-203, 257 Rembrandt : pintor de historias , Teresa Posada Kubissa, Alejandro Vergara, Mariët Westermann, p. 39, afb. 16 Het Rembrandt boek [ : 1 2006] , Gary Schwartz, p. 172, 175 Rembrandt : zoektocht van een genie , Bob van den Boogert, Michiel Franken, Ernst van de Wetering, p. 48 De Nachtwacht , Gary Schwartz Nederlandse kunst in het Rijksmuseum 1600-1700 , Jan Piet Filedt Kok, Reinier J.

Baarsen, Bart Cornelis, Jan Daniël van Dam De glorie van de Gouden Eeuw : Nederlandse kunst uit de 17de eeuw : schilderijen, beeldhouwkunst en kunstnijverheid , Jan Piet Filedt Kok, Judikje Kiers, Fieke Tissink, p. 107 + afb., cat.nr. 65 Rembrandts schatkamer , Bob van den Boogert, Ben P.J. Broos, Roelof van Gelder, Jaap van der Veen, p. 74-75 Rembrandt by himself [ : 1 1999] , Edwin Buijsen, Quentin Buvelot, Volker Manuth, Ernst van de Wetering, Christopher White, Marieke de Winkel, p. 32, 33 + afb. Artifice and illusion : the art and writing of Samuel van Hoogstraten , Celeste Brusati, p. 246-247 + afb. Dutch painting 1600-1800 , Jakob Rosenberg, Seymour Slive, p.

72-74 + afb. Rembrandt : de meester en zijn werkplaats : schilderijen , Christopher Brown, Jan Kelch, Pieter J.J. van Thiel Rembrandt , Annemarie A.E. Vels Heijn, p. 64 Rembrandt : zijn leven, zijn schilderijen : een nieuwe biografie met alle beschikbare schilderijen in kleur afgebeeld , Gary Schwartz, p. 209-224, 228, 231, 259, afb. 230 Het Trippenhuis te Amsterdam , Isabella Henriette van Eeghen, Rudolf Meischke, H.E. Reeser, p. 214-215, 259, afb. 168 A corpus of Rembrandt paintings , Josua Bruyn, D. Cook-Radmore, Karin Groen, L. Peese Binkhorst-Hoffscholte, Ernst van de Wetering, p. 430-485, cat.nr.

A 146 Rembrandt : the complete edition of the paintings , Abraham Bredius, Horst Karl Gerson, cat.nr. 410 Rembrandt and the Italian Renaissance , Kenneth Clark, p. 70, 85, 86, 88, 160, 172, 214, afb. 77 The Rembrandt Database, Object information, Rembrandt, Civic guardsmen of Amsterdam under command of Banninck Cocq, dated 1642, Rijksmuseum, Amsterdam, inv. no. SK-C-5, accessed 2016 February 01 Inzoomer object op zaal, 2013 (Nederlands/English). A. Jensen Adams, Public Faces and Private Identities in Seventeenth-Century Holland, Portraiture and the Production of Community, New York 2009, p. 211-217, fig. 60. M. Rayssac, 'l'Exode des Musées, Histoire des oeuvres d'art sous l'Occupation', Parijs 2007.

K.M. Groen, 'Earth Matters, The origin of the material used for the preparation of the Nightwatch and many other canvases in Rembrandt's workshop after 1640', Art Matters, volume 3, p. 138. E. Runia. A. van Suchtelen, Rembrandt, Den Haag 2006, p. 14. Y. van Veelen, 'Work in progress. De strijd om de Nachtwacht', Kunstbeeld nr. 12/1 (dec. 2004/jan. 2005), p. 44-47. 'Omtrents Rembrandts Nachtwacht', Kunstkrant Rijksmuseum Amsterdam nr. 1 (1998), p. 14-20. H. van Os, in: Bulletin van het Rijksmuseum nr. 4 (1996), p. 309-320 + afb. J. Boomgaard, 'De Verloren Zoon. Rembrandt en de Nederlandse Kunstgeschiedenisbeschrijving', Kunstreeks (1995). P. Taylor, 'Darkness at Noon.

Rembrandts Nachtwacht', Kunstschrift 6 (1994), p. 22-27 + afb. Fieke Tissink, 'Hoofdstuk uit het Rijksmuseum', Rijksmuseum Kunstkrant 19 (1993) nr. 3, p. 14-18. O. Pacht, 'Rembrandt', Munchen 1991, p. 19-30 + ill. A.K. Wheelock, 'The Age of Rembrandt', Studies in seventeenth Century Dutch Painting (The Pennsylvania State University, 1988), p. 215, 223 (afb.). J.B. Bedaux, 'Een achttiende eeuwse kunsttheoretische discussie', Kunstlicht 15 (1985), p. 25-28. C. Grimm, 'Handschrift, schildertechniek en beeldstructuur. Bijdrage tot het onderzoek naar toeschrijving, I: de helmen van Rembrandt', Tableau (1982/83), p.

246-248, afb. 5. E. van de Wetering, 'Ontrouw aan Rembrandt', Kunstschrift (Openbaar Kunstbezit) (1982), p. 166-167, 171, afb. 24-26. K. Clark, 'What is a masterpiece?', Portfolio. The Magazine of the Visual Arts, 2 (1980), p. 51 + afb. H. Günther, 'Damals oder heute unverstanden. Zum Problem von Rembrandts Nachtwache', Welkunst 50 (1980), p. 1848-1850 + afb. U. Schumacher, 'Gruppenporträt und Genrebild. Zur Deutung der Photographie fur die franzosische Malerei des 19. Jahrhunderts, Giessener Beiträge zur Kunstgeschichte 4 (1979), p. 29, afb. 11. M.M. Toth-Ubbens, 'De barbier van Amsterdam.

Aantekeningen over de relaties tussen het Waaggebouw en de Schouwburg in de zeventiende eeuw', Antiek 10 (1975), p. 388, afb. 12. H. Gerson, 'De Nachtwacht', Openbaar Kunstbezit, 10e jaargang, januari (1966). Chr. White, 'Rembrandt', Den Haag 1964, p. 65, 66 + afb. A.J. Moes-Veth, 'Rembrandt's Claudius Civilis en de Nachtwacht van terzijde beschouwd, Oud Holland LXXV (1960), p. 143. A.J. Moes-Veth, 'De Nachtwacht en haar oude copieen', Oud Holland LXII (1947), p. 188.

J.A.Overhoff, 'De Nachtwacht op zwerftocht' (het schilderij ten tijde van WO II), [2016] Gerrit Lundens (after Rembrandt) | The Company of Captain Banning Cocq ('The Nightwatch') | NG289 | National Gallery, London £ other Make this a monthly donation [{"Amount":8.3800,"CurrencyCode":"GBP","DonationDate":"2016-09-06T21:24:18","DonorDisplayName":"Andreas","DonorLocalAmount":10.0000,"DonorLocalCurrencyCode":"EUR","EstimatedTaxReclaim":0.0000,"ImageUrl":"","Message":"It is great to visit for free such a prestigious museum.

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Hope to visit again."},{"Amount":5.0000,"CurrencyCode":"GBP","DonationDate":"2016-11-22T10:18:24","DonorDisplayName":"","DonorLocalAmount":5.0000,"DonorLocalCurrencyCode":"GBP","EstimatedTaxReclaim":0.0000,"ImageUrl":"","Message":"These beautiful artworks belong to us all. Thank you for being custodians of the national collection"}] The Company of Captain Banning Cocq ('The Nightwatch') Why is this not on display? This painting is a copy of Rembrandt 's so-called 'Nightwatch' of 1642 (Amsterdam, Rijksmuseum). It is much smaller than the original. It is interesting because it records the original before it was cut down on all sides, presumably in 1715, when it was moved from the room in the Kloveniersdoelen for which it was painted to the town hall in Amsterdam. In the foreground are the company's captain, Frans Banning Cocq (in black), and his lieutenant, Willem van Ruytenburch.

Behind them the company's colours are carried by the ensign, Jan Visscher Cornelisen. The attribution to Lundens is confirmed by comparison with three signed and dated miniature portraits of 1650 by the artist (Amsterdam, Rijksmuseum). It is likely that the commission came from Banning Cocq because a watercolour copy that the captain had made for his family album (Amsterdam, on loan to the Rijksmuseum) was based on the Lundens copy rather than on the original by Rembrandt. Share this painting The Night Watch | VanGoYourself The Night Watch First, tell us who you are, so we can credit your recreation Name: Now recreate this scene, then hit 'Go' to take your photo. Tips & tricks License of this image: CC-BY-SA License of original image: Rijksmuseum Amsterdam - Public Domain PUBLISH Created: 1642, Collection: Rijksmuseum Amsterdam , Amsterdam, Netherlands Rights: Public Domain This is really a challenge! Start with a relatively neutral backdrop. Then you need to create small groups within the overall composition. Don not pay too much attention to the exact number of people.

As long as you get the main characters in place, you will succeed. Use brooms or sticks to great dynamic lines and movements. And yes: move! Step forward! Role the drums! Regarding the light: it is a relatively dark painting, but don't try to do the same by not using enough light. It will spoil the overall result. The painting may be more properly titled by its long since forgotten name “The Company of captain Frans Banning Cocq and lieutenant Willem van Ruytenburch preparing to march out.” In the 18th century the painting became simply known as “The Night Watch”. It is prominently displayed in the Rijksmuseum, Amsterdam, the Netherlands, as the best known painting in its collection. Actually, the Night Watch is one of the most famous paintings in the world. The painting is renowned for three characteristics: its colossal size (363 cm × 437 cm), the effective use of light and shadow and the perception of motion in what would have traditionally been a static military portrait. The painting was completed at the peak of the Dutch Golden Age.

It depicts the eponymous company moving out, led by Captain Frans Banning Cocq (dressed in black, with a red sash) and his lieutenant, Willem van Ruytenburch (dressed in yellow, with a white sash). With effective use of sunlight and shade, Rembrandt leads the eye to the three most important characters among the crowd, the two gentlemen in the centre (from whom the painting gets its original title), and the small girl in the centre left background. Behind them, the company’s colours are carried by the ensign, Jan Visscher Cornelissen. For much of its existence, the painting was coated with a dark varnish which gave the incorrect impression that it depicted a night scene, leading to the name by which it is now commonly known. This varnish was removed only in the 1940s. A persistent misconception is that Rembrandt’s decline in popularity was due to a negative public reception of the painting. The myth has no reasonable origin as there is no record of criticism of the painting in Rembrandt’s lifetime. It is more likely that the decline in the artist’s popularity was due not to reaction to any one painting but to a broader change in taste.

During the 1640s wealthy patrons began to prefer the bright colors and graceful manner that had been initiated by such painters as the Flemish portraitist Anthony van Dyck. Source of the description: Wikipedia Oil Painting Reproduction of Rembrandt- 'The Company of Frans Banning Cocq and Willem van Ruytenburch', known as the 'Nightwatch' Rembrandt Paintings 1606 - 1669 Painter, Etcher, Printmaker, Netherlands, Baroque 'The Company of Frans Banning Cocq and Willem van Ruytenburch', known as the 'Nightwatch' Oil on canvas, 142.91 x 172.05 inches [363 x 437 cm] Rijksmuseum, Amsterdam 10 from 36 OIL PAINTING: 'The Company of Frans Banning Cocq and Willem van Ruytenburch', known as the 'Nightwatch' Probably Rembrandt's most famous and most controversial painting was given its erroneous title the NightWatch in the early 19th century.

The title referred to the subdued lighting and led art critics to seek all manner of hidden mysteries in the painting. The original title, recorded in the still extant family chronicle of Captain Banning Cocq, together with a sketch of the painting, sounds rather dry by comparison: "Sketch of the painting from the Great Hall of Cleveniers Doelen, in which the young Heer van Purmerlandt [Banning Cocq], as captain, orders his lieutenant, the Heer van Vlaerderdingen [Willem van Ruytenburch], to march the company out." It is, therefore, a "Doelen" piece or group portrait in which the captain can be seen in the foreground wearing black and the lieutenant wearing yellow. What sets Rembrandt's group portrait apart from other comparable paintings is his use of chiaroscuro as a dramatic device. Interpretations seeking a plausible action fail to take into account that the scenery is made up more or less of individual "types". The NightWatch includes the entire repertoire of portrait poses and gestures from Rembrandt's store of figures. There is inevitably a sense of celebration in the portrayal of individuals in a Dutch group painting.

Yet whereas Frans Hals, for example, draws together his individual participants around a banquet scene, Rembrandt breaks up the group, so that individual characters and participants become absorbed in their own actions, each standing alone. Browse Artists Alphabetically by Name Copy of The Night Watch, Gerrit Lundens (attributed to), c. 1642 - c. 1655 - Rijksmuseum This image is not available because of copyright Copy of The Night Watch, Gerrit Lundens (attributed to), c. 1642 - c. 1655 oil on panel, h 66.5cm × w 85.5cm. More details This 17th-century copy of the Night Watch reveals that the composition was originally larger. The painting was cut down on three sides – above all, on the left – when it was moved in 1715 from the large hall of the Kloveniersdoelen to the Amsterdam Town Hall. It had to fit in between two doors in its new location. The strips of canvas that were cut away were not preserved.

Rembrandt - oi oi Show all results sharing this subject: Art Quick Reference (b Leiden, 15 July 1606; d Amsterdam, 4 Oct. 1669). Dutch painter, etcher, and draughtsman, his country's greatest artist. The son of a prosperous miller, he attended Leiden's Latin school before registering at the city's university in 1620, but he probably never actually studied there. At about this time he was apprenticed to the mediocre local painter Jacob van Swanenburgh (c.1571–1638), with whom he is said to have studied for about three years. However, much more important for Rembrandt's development were six months spent in Amsterdam with Pieter Lastman, c.1624. From Lastman he took not only his predilection for mythological and religious subjects, but also his way of treating them, with exaggerated gestures and expressions, vivid lighting effects, and a meticulous, glossy finish, as in his earliest dated work—the Stoning of St Stephen (1625, Mus. B.-A., Lyons).

Houbraken says that Rembrandt also studied with Jacob Pynas and Joris van Schooten (1587–1651), but this can have been only briefly, for by 1625 he was working as an independent master in Leiden. There he had a close association with his friend Jan Lievens, but they parted company when Rembrandt moved to Amsterdam (his home for the rest of his life) in 1631/2. The paintings of his Leiden period are mainly figure subjects, often involving old men depicted as philosophers or biblical characters. He also did portraits of himself and of members of his family, but it is not until 1631 that he painted his earliest known formal commissioned portraits, notably that of Nicolaes Ruts, a prosperous Amsterdam merchant (Frick Coll., New York). Rembrandt no doubt realized that here he had a recipe for success, as this type of work dominated his output in his early years in Amsterdam. It was the busiest period of his life, as he soon established himself as the leading portraitist in the city.

The work that most clearly demonstrated his superiority to rivals such as Thomas de Keyser is the Anatomy Lesson of Dr Tulp (1632, Mauritshuis, The Hague), which brought new vitality and richness to the group portrait. Rembrandt's great energy in his early years in Amsterdam comes out also in his religious works. The most important commission he received during the 1630s was from the Stadholder (head of state) Prince Frederick Henry of Orange for five pictures depicting scenes of Christ's Passion (Alte Pin., Munich), and the Baroque tendencies of his work at this time are even more emphatically expressed in his sensational, life-size Blinding of Samson (1636, Städelsches Kunstinstitut, Frankfurt). Rembrandt presented this picture to the diplomat and writer Constantijn Huygens (1596–1687), who was secretary to the Stadholder and who had probably secured the commission for the Passion series. Rembrandt's success in the 1630s was personal as well as professional.

In 1634 he married Saskia van Uylenburgh, cousin of a picture-dealer associate, and from the evidence of his wonderfully tender portraits of her it must have been a blissful union. In 1639 he bought an imposing house (now a Rembrandt museum), and he spent lavishly on works of art and anything else that took his fancy or looked as if it might be useful as a prop—armour, old costumes, etc. His domestic happiness was, however, marred by a succession of infant deaths: of the four children Saskia bore him, only his son Titus (1641–68), who became one of his favourite models, lived longer than two months. Saskia herself died in 1642, and in this year Rembrandt finished his most famous picture, The Night Watch (Rijksmuseum, Amsterdam), which Jacob Rosenberg, in his standard monograph on the artist, calls ‘a thunderbolt of genius’. The erroneous title dates from the late 18th century when the painting was so discoloured with dirty varnish that it looked like a night scene.

Its correct title is The Militia Company of Captain Frans Banning Cocq and Lieutenant Willem van Ruytenburch, and it is the culminating work of the Dutch tradition of civic guard portraits (a genre particularly associated with Frans Hals). It is also the most ambitious picture of any kind painted by a Dutch artist up to this date, and Rembrandt showed remarkable originality in making a pictorial drama out of an insignificant event. To do this he subordinated the individual portraits to the demands of the composition, and according to popular legend the sitters who had paid for the picture were appalled at this and demanded that Rembrandt make radical changes, paint a new picture, or refund their money. Rembrandt's refusal is supposed to have been his downfall and to have led him into penniless obscurity. There is, however, no basis in fact for the story, which seems to be a 19th-century invention; indeed all the available evidence suggests that the picture was well received by contemporaries.

Samuel van Hoogstraten, for example, wrote: ‘It is so painter-like in thought, so dashing in movement, and so powerful’ that the pictures beside which it hung were made to seem ‘like playing cards’. [...] The Night Watch, Rembrandt van Rijn Postcard | Zazzle The Night Watch, Rembrandt van Rijn Postcard $1.10 50% off with code ZAZHELLO2017  50% OFF ALL Invitations , Announcements & Cards | 20.17% OFF SITEWIDE | Use Code: ZAZHELLO2017 | Ends Wednesday | See Details Sold by  About this product Orientation: Postcard Create your own vacation-worthy postcards right here. Any view you’ve seen, any monument you’ve fallen in love with, can all be added to our postcards with our personalization tool. Craft touching, hand-written correspondence while on your next road trip!

Dimensions: 4.25"l x 5.6"w (portrait) or 5.6"l x 4.25"w (landscape) Printed on 110 lb, 12.5 point thick, semi-gloss paper Postage rate: $0.34 About this design The Night Watch, Rembrandt van Rijn Postcard Postcard with the painting" The night watch" by the famous golden age painter Rembrandt van Rijn. Artist: Rembrandt van Rijn Title Dutch: Schutters van wijk II onder leiding van kapitein Frans Banninck Cocq, bekend als de ‘Nachtwacht’, Rembrandt Harmensz.

van Rijn, 1642 Title English: The Night Watch Year : 1642 Type : Oil on canvas Dimensions : 363 cm × 437 cm (142.9 in × 172.0 in) Location : Rijksmuseum, Amsterdam, The Netherlands Militia Company of District II under the Command of Captain Frans Banninck Cocq,[1] also known as The Shooting Company of Frans Banning Cocq and Willem van Ruytenburch, but commonly referred to as The Night Watch (Dutch: De Nachtwacht), is a 1642 painting by Rembrandt van Rijn. >br> The painting may be more properly titled by its long since forgotten name The Company of captain Frans Banning Cocq and lieutenant Willem van Ruytenburch preparing to march out. In the 18th century the painting became known as the Night Watch. It is prominently displayed in the Rijksmuseum, Amsterdam, the Netherlands, as the best known painting in its collection. The Night Watch is one of the most famous paintings in the world.

Source: Wikipedia The Night Watch - Wikidata The Night Watch Militia Company of District II under the Command of Captain Frans Banninck Cocq The Shooting Company of Frans Banning Cocq and Willem van Ruytenburch The Nightwatch Cite this page This page was last modified on 2 January 2017, at 13:55. All structured data from the main and property namespace is available under the Creative Commons CC0 License ; text in the other namespaces is available under the Creative Commons Attribution-ShareAlike License ; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy.

Question: 'The Company of Captain Frans Banning Cocq and Willem Van Ruytenburch' is the proper title of which Rembrandt painting?
Answer: THE NIGHTWATCH