Rembrandt, The Night Watch발음듣기
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Rembrandt, The Night Watch
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(piano music) [Voiceover] We're in the Rijksmuseum on an early Sunday morning in order to avoid the crowds that gather in front of Rembrandt's most famous work, in fact, probably the most famous painting in the Netherlands.발음듣기
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[Voiceover] It's a group portrait, and this is a type of painting that was very specific to the Dutch Republic in the 17th century.발음듣기
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Now militia groups were meant to defend the city, but by the time Rembrandt paints this, they were largely ceremonial.발음듣기
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[Voiceover] Right, they took part in processions, and parades, and festivities relating to the city, and they symbolized civic pride.발음듣기
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[Voiceover] In fact, one had to pay dues in order to be a member, and it was always a leading citizen that would head it up.발음듣기
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We should say it was hung with other group portraits of militias in the hall where they would meet.발음듣기
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[Voiceover] Unlike earlier examples, which generally have a kind of even light and are very much like the kind of class portrait you would have in your grade school, here we have people who seem to be in the act of coalescing around an action.발음듣기
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[Voiceover] Right, the captain is giving an order for the militia to gather and move forward, and he's giving that order to his lieutenant.발음듣기
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In other words, in most group portraits there would be even light and there would be even attention to each face, and generally even handling of each figure.발음듣기
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Now there may be figures that are placed in the foreground, figures that are placed in the background, in fact, there might be different prices that each of those sitters paid for that honor, but here the two men in the foreground are clearly most important.발음듣기
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In fact, the captain's hand casts a stark shadow on the amazingly beautiful uniform worn by his lieutenant.발음듣기
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So those fluctuations of light and dark do make this very different from a typical group portrait.발음듣기
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[Voiceover] This is a Baroque painting, not only in the handling of light, but also in the sense of the momentary, in the kind of compositional diagonals that are defined by the spears that are held, by the banner in the upper left, activating the scene.발음듣기
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[Voiceover] Well Hals is also bringing a sense of informality and movement to the genre of the group portrait, but Rembrandt is engrossing us in a narrative.발음듣기
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In the center, you see somebody whose legs are bracing and is in the process of shooting, and you can just make out the smoke from the barrel that gets a little bit confused with the rather smoky feathers of the lieutenant's hat.발음듣기
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[Voiceover] Art historians believe that these images are in some part derived from a manual about using this kind of firearm.발음듣기
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There's a dog barking, there's someone playing the drums, there's someone raising the standard of the militia.발음듣기
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[Voiceover] Actually, if you look closely you can make out that there are two girls, one behind the other, but the one that's most evident we think of as a kind of mascot.발음듣기
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If you look closely, in her beautiful dress she's got a dead chicken that's been hung upside down from her belt, the claws very prominent.발음듣기
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[Voiceover] So here we are in this room filled with group portraits, and I have to admit that when I look around at the Frans Hals, they're beautifully painted, incredibly informal and lifelike, but I find myself caring less.발음듣기
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I can sort of put myself back and imagine the citizens of Amsterdam in the early 17th century who did know these figures, but somehow I find myself caring about the story and getting involved in the story of The Night Watch.발음듣기
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[Voiceover] We can look at the Frans Hals and admire his brush work, the innovations of his composition, the way in which he takes great risks in terms of this tradition of the group portrait, but Rembrandt transcends that category of painting and makes this something where we care about the figures, even if we've lost their identity.발음듣기
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[Voiceover] Rembrandt is bringing in the lessons of Caravaggio, he's bringing in the lessons of the Italian Baroque, but we have to remember that we're seeing this painting differently than somebody in Rembrandt's era would have seen it.발음듣기
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So we're seeing it not only having lost its top and its sides, but actually somewhat off center.발음듣기
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[Voiceover] And it's also important to remember that the painting wasn't originally called The Night Watch.발음듣기
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[Voiceover] It got that title in the 18th century after the painting had darkened considerably and it was no longer evident that it was a daytime image.발음듣기
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[Voiceover] Although it is still dark, the figures do come out of that darkness in the tradition derived from Caravaggio.발음듣기
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[Voiceover] It still comes out of that Tenebristic tradition of the Italian Baroque and all of the mystery and drama that that imparts.발음듣기
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That was actually added after most of these men had passed away in order to remember who these men were.발음듣기
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[Voiceover] When you look toward this painting as you enter this gallery and you see the people standing in front, the painting is so lifelike that it almost looks as though the figures here are interacting with the people who are standing in front of it.발음듣기
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[Voiceover] Well look at the amazing foreshortening, for example, of the weapon that the lieutenant is holding, the way in which that moves into our space.발음듣기
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[Voiceover] Or the rifle held by the figure in red, or the captain's hand that comes forward.발음듣기
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[Voiceover] But it really has to do with the separateness of each person's involvement in what they are doing and the way in which they're all being called to order, that moment of transition.발음듣기
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This is a painting that allows us to see that complex moment when people are moving from their individual thoughts into a formation.발음듣기
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