l wrote this a while ago for my daily art stuff. Figured I might as well post it here.

The Night Watch is undoubtedly one of my favorite paintings of all time. There are so many little details to analyze and fully break down in their whole. For instance, did you know that the Night Watch actually takes place during the daytime? It only appears as if it is in the dark because of all the layers of dark which have obscured it over time. However, today I would like to discuss something which I feel has gone somewhat unnoticed. In the Night Watch, I feel something that makes the painting as great as it is would be the use of position.

 First of all, look at the hand of the man dressed in black. The way that it is pointed gives it an almost three dimensional quality. It looks like it is popping out of the painting directly towards the viewer, almost inviting them to join the officers. This applies similarly to the spear which the lieutenant clutches right beside him. The spear is angled in a way where it juts out of his side, appearing to enter the space of the onlooker. That’s what gives this painting a sort of spontaneous theme. We don’t feel like this is somebody painting a scene from ages ago, we feel as if this scene is happening right now in front of us. That is not all though. Behind the two central figures, we see action directly taking place. On the left, a man in red is beginning to load gunpowder into his musket. In the middle we can see the smoke from a gunshot which just happened. On the right we can see an old man dressed in red who is blowing out the powder from his weapon. What this does is add this sense of urgency to the painting. It’s almost like a still frame from a film because so many things are going on at once. There’s no static nature to it because clearly there’s some sort of conflict happening and shots have been and will be fired.

 I also really appreciate the contrast between the captain and the drummer. 

On the left, to the northwest of the man in black we see a captain triumphantly raising a standard. The heroic pose he strikes, with his arm confidently sticking out and his head tilted up suggests utmost confidence in victory. His other arm is tucked in, displaying this gentlemanly quality in the chaos of a fight. The drummer boy on the other side seems to be a different story.  He is almost bent out of the frame, clearly awkward and clumsy as a lone dog barks at his music. The way he stands implies an inexperience, in sharp contrast to the well organized well experienced captain. This could imply that not all members of the militia feel the same patriotic sense of duty as it would seem.

 I turn your head towards the man in the black hat talking to another person. The way which the man in the black hat points suggests a sort of leadership quality present in the two men in front. The one on the very right turns his head towards the crowd of people, perhaps confused about what is happening or who the leader is. His companion points to the two officers in the front as if to explain “Hey, these two are in charge here. Ask them if you have any questions.”, and his casual pose with a musket slung across his shoulder belts a blunt indifference to the happenings. These two figures may have just burst through the crowd to lead the march, contextualizing the obviously uncertain pose which the militia member on the very right conveys. 

One of the more interesting aspects of the Night Watch is the golden girl in the middle of the painting. Her presence brings up several interesting questions. Who is she? What is she doing in the middle of such a scene? What are the strange objects on her waist? Let us try to dissect this bit by bit. 

Shown below is the chain of the Amsterdam Company of Arquebusiers (musketeers). Some of the links are decorated with claws—the musketeer emblem. Thus, the chicken around her waist makes sense. 

Look at the plucked chicken. It is clear now that the girl is some sort of mascot for the militia as odd as it seems. She carries not only the emblem of the musketeers but also the ceremonial drinking horn. The fact though that this is simply a plucked chicken and not an elaborate chain raises several ideas. What is clearly implied is that this militia was assembled in a rush. They couldn’t find the chain so they were forced to snatch a neighbor’s chicken and kill it to somewhat use as a mascot. At the same time, I sense that Remberant is making a bit of a mockery of the milia. At this time they had lost much power, so it would make sense that instead of a beautiful chain they would be resorting to random chickens killed out of necessity. Remberant is maybe telling us that despite the glowing appearances, this milia is more rugged than one would think. 

I’m almost done here, I promise. Here’s something lse cool. In between the captain and the mustached man next to him, you can see a beret wearing person’s eye. That’s Rembrandt himself! Talk about a careful cameo from yours truly.

Let’s wrap this up. One thing that saddens me is the fact that this painting is too big. Many years after this painting was created, it was moved to the town hall of Amsterdam. Unfortunately the painting was so big that it wouldn’t fit on the wall. What did they do when they found this out? Well, they cut off four pieces of the painting. Those pieces have never been found. Luckily an early copy gives us some impression of what those four pieces looked like. It just sucks that the early copy A. isn’t too great of a painting and B. almost certainly is quite different from the actual four pieces.

Here’s a look at the early copy. Thank you and goodbye.