Scholarlink

<p>This study examines Rembrandt’s use of <i>chiaroscuro</i> to depict the costume of Lieutenant Willem Van Ruytenburch, a prominently lit figure in <i>The Night Watch</i> (1642). As part of <i>Operation Night Watch</i>, the painting was analyzed using noninvasive imaging techniques, including reflectance imaging spectroscopy (RIS), macroscopic X-ray powder diffraction (MA-XRPD), and macroscopic X-ray fluorescence (MA-XRF). These methods enabled the mapping of the artist’s pigment palette, which includes lead white, lead-tin yellow, ochres, vermilion, arsenic sulfide pigments, red lakes, smalt, and azurite. Rembrandt applied these pigments in a consistent, systematic way, combining them in groups to achieve pictorial unity. Notably, arsenic-based pigments were used to capture the warm reflections of gold threads, unique to Van Ruytenburch’s costume. MA-XRPD also identified degradation products—mimetite, weddellite, and palmierite—associated with the original pigments. These results provide new insights into Rembrandt’s modus operandi and inform understanding of the current condition and implications for its conservation.</p>

错误：搜索内容不能为空，请输入英文关键词
错误：关键词超出字数限制，请精简
高级检索

Illuminating Rembrandt’s Chiaroscuro in The Night Watch: the painting process of Van Ruytenburch’s costume

  • 期刊论文

  • 出版模式：

    开放获取

  • 发表日期：

    2025年8月18日

查看全文
  • Nouchka De Keyser,
  • Annelies van Loon,
  • Francesca Gabrieli,
  • Frederik Vanmeert,
  • Fréderique T. H. Broers,
  • Petria Noble,
  • Steven De Meyer,
  • Arthur Gestels,
  • Victor Gonzalez,
  • Mitra Almasian,
  • Inez van der Werf,
  • Erma Hermens,
  • Koen Janssens,
  • Katrien Keune

摘要

This study examines Rembrandt’s use of chiaroscuro to depict the costume of Lieutenant Willem Van Ruytenburch, a prominently lit figure in The Night Watch (1642). As part of Operation Night Watch, the painting was analyzed using noninvasive imaging techniques, including reflectance imaging spectroscopy (RIS), macroscopic X-ray powder diffraction (MA-XRPD), and macroscopic X-ray fluorescence (MA-XRF). These methods enabled the mapping of the artist’s pigment palette, which includes lead white, lead-tin yellow, ochres, vermilion, arsenic sulfide pigments, red lakes, smalt, and azurite. Rembrandt applied these pigments in a consistent, systematic way, combining them in groups to achieve pictorial unity. Notably, arsenic-based pigments were used to capture the warm reflections of gold threads, unique to Van Ruytenburch’s costume. MA-XRPD also identified degradation products—mimetite, weddellite, and palmierite—associated with the original pigments. These results provide new insights into Rembrandt’s modus operandi and inform understanding of the current condition and implications for its conservation.