After attending the large scale Modern Movement exhibition, I decided to see something compact and traditional.

In 1986, I had a 2 day stay in Amsterdam. There were 2 primary sites on my itinerary – the Heineken Brewery tour and the Rembrandt Rijksmuseum. In the Rijksmuseum is the famous “The Night Watch”, a painting from the Dutch Golden Age. It does not depict a night scene. For years it was coated in a dark varnish which led to it being given the name The Night Watch.

I stood before the painting for about an hour absorbing every detail. I could see the repair where it had been slashed by a bread knife in 1975. The guards kept a close eye on me as, I guess, not many people look at The Night Watch for that length of time.

I understand that a major restoration took place in 2019 along with specialized LED lighting. I may have to go back.

In the meantime, it was a joy to return to that feeling to see the Rembrandt exhibit at the AGO. The idea behind the exhibit was to show how the “Rembrandt Technique” became not only pervasive, but made it difficult to tell which ones were actually paint by Rembrandt van Rijn.

He ran a large workshop where he taught pupils his skills. Student became so good at copying his style that it made it difficult to tell who’s who. Art historians used a group of accepted Rembrandt paintings as a base to compare other works. However, that is subjective so a few of the pieces on display are labeled “attributed to”.

“The Artist’s Studio”, around 1710-1715, Arent De Gelder.

What caught my eye was the curvature of the draping hanging from the ceiling. I assume this was done to create the “Rembrandt Lighting” effect. It controls the light from the window to be directed to the subject’s right side.

I learned about Rembrandt lighting when I took my photography course. The light comes in from the side to create a light and dark side. Raisin was my subject for the assignment.

Unlike photographer, the works of the Dutch Golden Age are reflections of what the painter and patron wanted. “Idealized still lifes, portraits that vividly captured newfound status – all were carefully composed to create a lasting presence”.

“Self-portrait with Skull”, around 1655, Michael Sweerts.

“The painted presence of a self-portrait allows an artist to guarantee that their image will long outlive their time on Earth”.

“Vanitas Still Life with a Portrait of Rembrandt, a Sculpture, a Skull, Feathers an Overturned Roemer and a Portfolio of Drawings”, 1668, Abraham Susenier.

There is commentary in still lifes. Both the skull and Rembrandt have feathered headdresses. Feathered caps became popular after the colonization of the Americas. The traditional feathered work of the indigenous peoples influenced European taste.

“Self-portrait as Saint John the Evangelist”, around 1655, Willem Drost

With all these self-portraits, I can see now why the subjectiveness plays a part. If I were a painter would I do a self-portrait “warts and all”. Painting yourself as Saint John the Evangelist puts you in a pretty good frame (pun intended).

“Portrait of a Woman with a Handkerchief”, around 1644. Studio of Rembrandt Van Rijn

Here is an example of a painting giving historians a hard time. They cannot identify who did it (although, over the years, they gave it their best shot, including Rembrandt painting it). The paint used in the ground layer is mixed with sand; a technique only used by Rembrandt and a few top students.

“Portrait of a Woman”, around 1653, Jacobus Leveck.

This one was thought to have been done by Rembrandt but is now attributed to Jacobus. Historians have proposed it is Rembrandt’s common-law partner Hendrickje Stoffels. As she appears in a few paintings, questions arise as to her role at the studio.

“Portrait of a Woman with a Lap Dog”, 1665, Rembrandt Van Rijan

We now get to the Rembrandt paintings. I didn’t think he did justice to the dog. He is supposed to have had a pet poodle and pet monkey.

“Head of an Old Man with Curly Hair”, 1659. Rembrandt Van Rijn

“Head of a Bearded Man: Study for Saint Mathew”, 1657. Attributed to Rembrandt Van Rijn

And there we have it. There were a few more student paintings. It did not recreate the feeling I had looking at The Night Watch but it was a good reminder of the use of light and shade in painting.

Afterwards I went done to the cafe for an espresso. I sat next to Auguste Rodin’s The Thinker. That is what I enjoy about this place – you sit for a break and are enveloped in art. The gift shop has a replica of this for sale. I’m considering buying it and putting it on the desk as a reminder to think about things.