The Night Watch - Key Elements

Key Elements

The painting is renowned for three elements: its colossal size (363 x 437 cm ~ 11 ft 10in x 14 ft 4in), the effective use of light and shadow (chiaroscuro), and the perception of motion in what would have been, traditionally, a static military portrait.

This painting was completed in 1642, at the peak of the Dutch Golden Age. It depicts the eponymous company moving out, led by Captain Frans Banning Cocq (dressed in black, with a red sash) and his lieutenant, Willem van Ruytenburch (dressed in yellow, with a white sash). With effective use of sunlight and shade, Rembrandt leads the eye to the three most important characters among the crowd, the two gentlemen in the centre (from whom the painting gets its original title), and the small girl in the centre left background. Behind them the company's colours are carried by the ensign, Jan Visscher Cornelissen.

Rembrandt has displayed the traditional emblem of the Arquebusiers in the painting in a natural way: the girl in yellow dress in the background is carrying the main symbols. She is a kind of mascot herself: the claws of a dead chicken on her belt represent the clauweniers (arquebusiers); the pistol behind the chicken stands for 'clover'; and, she is holding the militia's goblet. The man in front of her is wearing a helmet with an oak leaf, a traditional motif of the Arquebusiers. The dead chicken is also meant to represent a defeated adversary. The colour yellow is often associated with victory.

Read more about this topic:  The Night Watch

Famous quotes containing the words key and/or elements:

    Power, in Case’s world, meant corporate power. The zaibatsus, the multinationals ..., had ... attained a kind of immortality. You couldn’t kill a zaibatsu by assassinating a dozen key executives; there were others waiting to step up the ladder; assume the vacated position, access the vast banks of corporate memory.
    William Gibson (b. 1948)

    The two elements the traveler first captures in the big city are extrahuman architecture and furious rhythm. Geometry and anguish. At first glance, the rhythm may be confused with gaiety, but when you look more closely at the mechanism of social life and the painful slavery of both men and machines, you see that it is nothing but a kind of typical, empty anguish that makes even crime and gangs forgivable means of escape.
    Federico García Lorca (1898–1936)