Rembrandt’s Evening Watch paint recipe presents clues to the proper wall filler | Rembrandt

The secrets and techniques of Rembrandt’s portray approach on The Evening Watch stay misplaced to time for now. However researchers tasked with fixing the thriller imagine they might not less than have gleaned some clues as to the proper recipe for wall filler.

Scientists at AkzoNobel, the Dutch homeowners of Dulux paints, have been working since 2019 with conservators at Amsterdam’s Rijksmuseum on the restoration of Rembrandt’s masterpiece, constructing a greater image of how the Seventeenth-century painter labored.

A key goal for Gerard van Ewijk, AkzoNobel’s analysis and improvement supervisor, has been to uncover the recipe utilized by Rembrandt in his impasto approach, the place paint is layered thickly sufficient to face out from the canvas.

The well-defined clothes of Lieutenant Willem Van Ruytenburch on the portray – the complete title of which is The Evening Watch militia below the command of Capt Frans Banninck Cocq – is one instance of the place Rembrandt achieved such an modern 3D impact.

Rembrandt’s Evening Watch paint recipe presents clues to the proper wall filler | Rembrandt
Gerard van Ewijk of AkzoNobel mixes white pigment with uncooked linseed oil to create impasto paint. {Photograph}: Judith Jockel/The Guardian

The conclusions of Van Ewijk’s investigations into the paint pose maybe extra questions than solutions, nonetheless.

Earlier research of a “tiny sq. of paint, smaller than a crumble of paint” had found egg yolk within the impasto, mentioned Katrien Keune, head of science on the Rijksmuseum. Yolk was believed to have been combined with boiled linseed oil and lead oxide to create what Van Ewijk described as a “form of mayonnaise”.

After intensive work within the laboratories on the Rijksmuseum and AkzoNobel’s facility on the outskirts of the Dutch capital, Van Ewijk found that there had not been any want for the egg yolk with a view to create the identical impact.

A 30:70 ratio of uncooked linseed oil and lead white creates the proper impasto paint, elevating a wonderfully believable different recipe to that beforehand assumed to have been used.

Lieutenant Willem Van Ruytenburch
Element of The Evening Watch displaying Lieutenant Willem Van Ruytenburch whose clothes is painted with the impasto approach. {Photograph}: Peter de Jong/AP

“We even questioned whether or not the earlier evaluation had been appropriate however we predict the egg was undoubtedly there,” he mentioned. “There are a number of recipes he might have used … I believe one of many outcomes is that you simply don’t really want [the egg] so it’s nonetheless a little bit of a thriller why it’s there”.

However all isn’t misplaced. The strenuous efforts of Van Ewijk and his group haven’t solely provided perception into the potential vary of approaches open to the artist however has additionally delivered advances within the creation of Polycell, Dulux’s model of wall filler offered within the UK.

“ how he received such structured paint helps us perceive wall filler in a barely completely different manner,” Van Ewijk mentioned, citing the brand new strategies utilized by his laboratory to look at their efforts at replicating the impasto.

Vials and jars
Scientists at AkzoNobel got down to recreate Rembrandt’s paint recipe. {Photograph}: Judith Jockel/The Guardian

The principle objective of the in depth analysis into The Evening Watch had been to organize for its first restoration in over 40 years following a tumultuous 4 centuries throughout which it was even hidden in a bunker in coastal dunes at first of the second world battle.

Step one – forward of a choice later this yr on whether or not to take away a number of layers of varnish utilized to the paint over the centuries – had been to appropriate deformation of the canvas seen in its prime left-hand nook.

The injury is believed to have been sustained in the course of the portray’s keep within the Philips wing of the Rijksmuseum throughout the principle constructing’s renovation between 2003 and 2013.

The three.63-metre by 4.37-metre portray has now been faraway from a picket stretcher to which it was connected by steel tacks since 1975 and fitted to a brand new one made from a non-reactive materials. A call on subsequent steps is anticipated in December.

AkzoNobel has additionally been advising the Rijksmuseum on the long run lighting of the portray and the best way to finest {photograph} its many shades of black.

Petria Noble, head of work conservation on the Rijksmuseum, mentioned AkzoNobel’s experiments had dominated out “as nonsense” some earlier theories that wax or paint scrapings had been utilized by Rembrandt to create the thick impasto paint.

“That is type of a lacking piece of knowledge that has puzzled historians and researchers for an extended, very long time, so you need to take it [step by step], getting into the proper route to determine what’s going on,” she mentioned.

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