Rembrandt’s restored ‘Night Watch’ at the Rijksmuseum in Amsterdam.
A project to restore a Rembrandt called “Night Watch” has received a lot of attention recently, but at the risk of repeating what you already know, I’d just like to point out that trimming a work of art can seriously affect its greatness.
How many times have building renovations cut paintings to fit or squashed them into too small a space to be properly appreciated. I think, for example, of the many special WPA paintings in US post offices that have been significantly altered over the years. I understand competing needs, but it’s a loss.
What was lost in Rembrandt’s ‘Night Watch,’ the New York Times says, was a sense of movement. The original was “asymmetrical: The large arch that stands behind the crowd was in the middle, and the group’s leaders were on the right. Rembrandt painted them this way to create a sense of movement through the canvas.
“Once the new pieces were restored, so was the balance, [said Rijksmuseum’s director, Taco Dibbits.] ‘You really get the physical feeling that Banninck Cocq and his colleagues really walk towards you.’ “
The main focus of the recent news coverage, however, was on how experts used artificial intelligence (AI) — along with an early copy of the original painting — to reimagine Rembrandt’s intentions.
Nina Siegal reported at the Times, “Rembrandt’s “The Night Watch” has been a national icon in the Netherlands ever since it was painted in 1642, but even that didn’t protect it.
“In 1715, the monumental canvas was cut down on all four sides to fit onto a wall between two doors in Amsterdam’s Town Hall. The snipped pieces were lost. Since the 19th century, the trimmed painting has been housed in the Rijksmuseum, where it is displayed as the museum’s centerpiece, at the focal point of its Gallery of Honor.
“[Now] for the first time in more than three centuries, it will be possible for the public to see the painting ‘nearly as it was intended,’ said the museum’s director, Taco Dibbits. …
“Rather than hiring a painter to reconstruct the missing pieces, the museum’s senior scientist, Robert Erdmann, trained a computer to recreate them pixel by pixel in Rembrandt’s style. A project of this complexity was possible thanks to a relatively new technology known as convolutional neural networks, a class of artificial-intelligence algorithms designed to help computers make sense of images, Erdmann said.”
As amazing as AI is, the work would not have been possible if a less renowned painter hadn’t made an early copy of Rembrandt’s work.
“Indications already existed of how the original ‘Night Watch’ likely looked,” Siegal continues, “thanks to a copy made by Gerrit Lundens, another 17th-century Dutch painter. He made his replica within 12 years of the original, before it was trimmed.
“Lundens’s copy is less than one-fifth the size of Rembrandt’s monumental canvas, but it is thought to be mostly faithful to the original. It was useful as a model for the missing pieces, even if Lundens’s style was nowhere near as detailed as Rembrandt’s. Lundens’s composition is also much looser, with the figures spread out more haphazardly across the canvas, so it could not be used to make a one-to-one reconstruction.
“The Rijksmuseum recently made high-resolution scans of Rembrandt’s ‘Night Watch,’ as part of a multimillion-dollar, multiyear restoration project, initiated in 2019. Those scans provided Erdmann with precise information about the details and colors in Rembrandt’s original, which the algorithms used to recreate the missing sections using Lundens’s copy as a guide. The images were then printed on canvas, attached to metal plates for stability and varnished to look like a painting.” More at the Times, here.
The Guardian also covered the story, quoting the Dibbits as saying, “With the addition especially on the left and the bottom, an empty space is created in the painting where they march towards. When the painting was cut [the lieutenants] were in the centre, but Rembrandt intended them to be off-centre marching towards that empty space, and that is the genius that Rembrandt understands: you create movement, a dynamic of the troops marching towards the left of the painting. …
“I am always hoping that somebody will call up one day to say that they have the missing pieces. I can understand that the bottom part and top might not be saved but on the left hand you have three figures, so it is surprising that they didn’t surface because at the time in 1715 Rembrandt was already much appreciated and an expensive artist.”
Update 8/11/21 — Michiel of Cook & Drink went to the exhibit, sending a picture and comment: “The AI-part adds a lot of value to the overall painting, but obviously it’s a reconstruction. This is clearly visible (the painting lies a bit deeper than the reconstruction) and that helps to appreciate both the original and the extended version. We’ve seen the painting many times, always in its original frame. To see it without a frame was also special. Very nice to see so many people interested in this project. It’s special to see the combination of very advanced IT, AI, art and history.”
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