Nightwatch Nachtwache Stream


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Nightwatch Nachtwache Stream

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Nightwatch Nachtwache Stream

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Nightwatch Nachtwache Stream Follow Operation Night Watch Video

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They may also want to see how the paint layers are built up, or whether the paint has altered in the course of time, and if so, how.

Rembrandt used a wide array of pigments for The Night Watch. Some of them are examined more in depth here.

The technique employed can identify different pigments very precisely on the evidence of their crystalline structure. The scan can reveal the different crystalline structures of pigments at an atomic level.

That enables the researchers to distinguish between the various pigments. When Operation Night Watch has started 8 July and is ongoing.

The Night Watch will be visible in the glass chamber during the entire project. The Night Watch has inspired artists and designers for centuries.

In the webshop of the Rijksmuseum you will find the greatest gift items with this incomparable masterpiece. Operation Night Watch is the largest research and conservation project ever on 'the Night Watch'.

The Rijksmuseum invites members of the public to watch the entire process at the museum and online. It is more than 40 years since the Night Watch underwent its last major restoration, following an attack on the painting in The Night Watch will be encased in a state-of-the-art clear glass chamber designed by the French architect Jean Michel Wilmotte.

This will ensure that the painting can remain on display for museum visitors. A digital platform will allow viewers from all over the world to follow the entire process online continuing the Rijksmuseum innovation in the digital field.

It belongs to us all, and that is why we have decided to conduct the restoration within the museum itself — and everyone, wherever they are, will be able to follow the process online.

The Rijksmuseum continually monitors the condition of the Night Watch, and it has been discovered that changes are occurring, such as the blanching on the dog figure at the lower right of the painting.

To gain a better understanding of its condition as a whole, the decision has been taken to conduct a thorough examination.

This detailed study is necessary to determine the best treatment plan, and will involve imaging techniques, high-resolution photography and highly advanced computer analysis.

Using these and other methods, we will be able to form a very detailed picture of the painting — not only of the painted surface, but of each and every layer, from varnish to canvas.

The research team working on the Night Watch is made up of researchers, conservators and restorers from the Rijksmuseum, which will conduct this research in close collaboration with museums and universities in the Netherlands and abroad.

The Night Watch belongs to the city of Amsterdam, and it been the highlight of the Rijksmuseum collection since The architect of the Rijksmuseum building Pierre Cuypers even created a dedicated gallery of honour for the Night Watch, and it is now admired there by more than 2.

Ermia, Familie M. Having been trained as a gold- and silversmith, Robert was subsequently trained as a conservator at the National Higher Institute of Fine Arts in Antwerp.

After shortly working at the Museum of the Tropics, he became a metals conservator at the Rijksmuseum in During this time he developed the metals conservation training program now being taught at the University of Amsterdam.

Since Robert also serves as chair of NICAS Netherlands Institute of Conservation, Art and Science , an innovative multidisciplinary research centre housed in the Rijksmuseum Conservation building, uniting art history, conservation and the exact sciences.

Robert is project leader of the scientific research and conservation treatment of the Night Watch. Currently she works as project coordinator of the scientific research and conservation treatment of the Night Watch.

Her expertise lies in aging and degradation studies of pigments and oil paintings at the micro- and molecular level, especially related to pigment-binding medium interactions.

For Operation Night Watch, Katrien will be responsible for the scientific research and paint sample analyses.

Before focusing on cultural heritage, he worked on multiscale computational materials science, image processing, and machine learning for design of novel materials and material processing.

His current work focuses on applying data science and microstructural analysis to collect, process, and visualize massive multimodal datasets for art objects.

He is currently involved in the scientific research of the Night Watch, where he is responsible for the scientific data infrastructure and computational imaging.

Annelies van Loon is Paintings research scientist at the Rijksmuseum and the Mauritshuis. She trained as a chemist MSc, UvA and a paintings conservator SRAL , before she specialized in the materials analysis and ageing and deterioration processes of old master paintings.

Francesca Gabrieli is a junior scientist in the Science department at the Rijksmuseum. From to she was a postdoctoral researcher in imaging science at National Gallery of Art in Washington DC, USA, where she learnt and developed reflectance imaging techniques applied to the study of many art objects.

Victor Gonzalez is junior scientist in the Science Department at the Rijksmuseum where he is involved in the scientific analysis of the materials and techniques of old master paintings, with a focus on historic inorganic pigments.

In the framework of Operation Night Watch, Victor will carry out chemical imaging of the painting and synchrotron studies of pigments used by Rembrandt.

Carola van Wijk has been working as a staff photographer at the Rijksmuseum since Carola is, with Henni van Beek, the author of the instruction manual for the photography of 2D objects.

Carola is one of the initiators of the Manual photographing 3D objects for the Rijksmuseum that was published during 2and3D Photography conference, Amsterdam She worked closely together with responsible authors and curators for various publications.

In the framework of Operation Night Watch she will work on different photographic techniques. He is, with Carola van Wijk, the author of the Instruction manual for 2d objects for the Rijksmuseum.

Henni is also involved in establishing guidelines for 2D digitization that serve as the standard for all photography in the museum.

He gives advice about technical specifications when outsourcing diverse projects and how to maintain quality standards throughout the process.

In addition to this he gives courses on digitization and the evaluation of scans to new co-workers at the National Archive. Prior to that, he studied applied Physics for two years at the University of Twente.

With his skills as a semi-physicist, he has developed several tools to improve the photographic workflow.

Since he has been gradually shifting his practice exclusively to cultural heritage photography for museums and art institutions, such as the Kröller-Müller Museum, the Stedelijk Museum and Royal Museum of Fine Arts Antwerp, Antwerp.

From to he was a freelance photographer involved in the Bosch Research and Conservation Project. He has been a part-time Staff Photographer for the Rijksmuseum since In the framework of Operation Night Watch he will work on different photographic techniques.

Prior to joining the Rijksmuseum in , she worked for 18 years at the Mauritshuis in The Hague, where she treated numerous paintings by Rembrandt.

As an expert in the material aspects of Rembrandt paintings she has co- published widely in conservation and scientific journals. Her current research activities include the application of non-invasive imaging techniques for the study of late Rembrandt paintings.

For Operation Night Watch she will be responsible for the conservation treatment of the painting. Lisette Vos is a paintings conservator at the Rijksmuseum Amsterdam.

Lisette has worked on special projects for the reopening of the Rijksmuseum in , this included the stretching of two large scale wax-resin lined paintings, one being the largest free hanging painting in the Rijksmuseum: The Battle of Waterloo J.

Next to full conservation treatments and research on paintings, Lisette has gained practical experience with collections management and preventive conservation.

Esther van Duijn is a paintings conservator and researcher, who has specialised in the history of paintings conservation in the Netherlands and has published widely on this subject.

In she successfully defended her Ph. As conservator she worked on numerous paintings from the 17th to the 19th century, from Van Goyen to Van Gogh.

The proud Frans Banninck Cocq even had a water colour of the Nightwatch painted for his personal collection. By , the militia guilds are well past their heyday, and the Amsterdam city government now decides to relocate the Nightwatch to the city hall on Dam Square.

There is one problem, however: the Nightwatch is simply too big and will not fit in the allocated space. And so it is decided to cut off a sizeable section from the painting.

This particular piece of the canvas has disappeared, never to be found again. In , the Rijksmuseum moves into the Trippenhuis on Kloveniersburgwal.

The Nightwatch is given pride of place, at the very heart of the new Rijksmuseum. By the 19th century, the varnish layer that covered the painting had become dirty and darkened.

Back then, the only conclusion that could be drawn was that the militia had been assembled in the hours of the night.

It was not until after the canvas had been cleaned that the militia members proved to be standing in a dark space lit by daylight.

On 13 January , a visitor suddenly steps across the cord that is there to keep people at a distance from the Nightwatch. Guards manage to subdue him before he can cause permanent damage.

He turned out to be a sailor who had been declared unfit for work and who, out of frustration, wanted to take revenge on the government. He is sentenced to one year of imprisonment.

By the late s, the threat of a new world war has become imminent. The dunes along the Dutch west coast seem safe enough, so a start is made with constructing purpose-built art storage bunkers near Heemskerk, Zandvoort and Castricum.

The Rijksmuseum is facing a monumental task: approximately 2, paintings and more than When the Germans invade the Netherlands, only the art bunker in Castricum is finished.

On 13 May , dr. Schmidt Degener, then director of the Rijksmuseum, decides that is where the Nightwatch should be moved to.

Upon its arrival, the painting is laid out on a lawn in order to remove its frame. Next, the Nightwatch is taken down to the storage space, several metres below the Castricum dune sands.

About a year later, the painting is again moved, now to a bunker near Heemskerk. For a long time, the dunes remained a safe area, but as the war progresses, the frontlines are also getting nearer to the coast.

This prompts the Germans to build a defence line that would protect them against an Allied invasion. Once again, the priceless Dutch works of art are under threat, and can no longer remain hidden in the dunes.

And so it is decided to build a large vault in the marl caves of the Sint-Pietersberg , in the province of Limburg.

On 24 March , the Nightwatch is installed there. In July , the vault in Limburg is cleared out, and the Nightwatch is put on a boat to Amsterdam.

After years of travelling and being hidden away in castles, dunes and caves, the Nightwatch finally returns home: to the Rijksmuseum.

Much to the relief of all, the Nightwatch turns out to have survived the war unscathed. In , the Nightwatch once again falls victim to an attack by a confused person.

Eye-witnesses state that, on 14 September, a by all appearances respectable gentleman entered the museum. Heading straight for the Nightwatch, he produces a serrated knife and, to the horror of all those present, starts slashing away at the painting.

Assisted by a visitor, the guard manages to wrestle the attacker to the ground. But the damage is already done — the bottom section of the Nightwatch is in tatters.

Lying on the floor in front of the painting is a triangular piece of canvas. It would take the restorers the best part of eight months to repair the damage to the painting.

Despite their best efforts, a permanent scar remains in the Nightwatch: just above the dog we can still make out the traces of a cut.

In , yet another attack. This time a man armed with a syphon filled with sulphuric acid assaults the Nightwatch. A guard responds swiftly, striking the syphon from his hands and instantly spraying the painting with specially distilled water.

In October , the Nightwatch becomes breaking news in both the Dutch and international media: the Rijksmuseum announces a large-scale research project and subsequent restoration of the Nightwatch.

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