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Toperfect >> Œuvres de 350 peintres de renom >> Rembrandt van Rijn >> La Ronde de nuit Rembrandt van Rijn

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La Ronde de nuit Rembrandt van Rijn Peintures à l'huile

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Présentation de Peinture à l’huile La Ronde de nuit Rembrandt van Rijn

Year: 1642
Type: Oil painting on canvas
Dimensions: 363 cm × 437 cm (142.9 in × 172.0 in)
Location: Rijksmuseum, Amsterdam

In 1942, a company commander and 16 militia soldiers under his leadership paid 100 shields each to ask Rembrandt to paint a group portrait for them.Rembrandt to draw a group picture of them. Rembrandt designed a scene supposed that the 16 solders are in command of patrol. They are preparing respectively. This is the origination of his conception in his later art Night Watch, and actually the scene depicted in the picture is in daytime. In this painting, the painter adopted the method of chiaroscuro to shape the figure by light. The abundant layers in the frame made it a masterpiece. When the The Nightwatch was taken back, the solders found it too big to hang in the hall, so they cut the margins off, which broke the original balance. The hall was warmed by burning charcoal, so that the painting was covered by a heavy layer of coal ash and looked gloom. Since the dark appearance made people mistake the scene in daytime for at night, they named it The Night Watch.

A persistent misconception is that Rembrandt's decline in popularity was due to a negative public reception of the painting. The myth has even made its way into modern advertising; in 1967, KLM featured the painting in an advertisement which said, "See Night Watch, Rembrandt's spectacular 'failure' (that caused him to be) hooted... down the road to bankruptcy." The myth has no reasonable origin as there is no record of criticism of the painting in Rembrandt's lifetime, and Captain Cocq even commissioned a watercolor of it for his personal album.

It is more likely that the decline in the artist's popularity was due not to reaction to any one painting but to a broader change in taste. During the 1640s wealthy patrons began to prefer the bright colors and graceful manner that had been initiated by such painters as the Flemish portraitist Anthony van Dyck.

 

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