Apart from the researchers and restorers working on Operation Night Watch, few people have studied The Night Watch in such minute detail as Lisa Wiersma. She painted an exceptionally detailed copy of Rembrandt’s masterpiece for the television programme The Master’s Secret (Het Geheim van de Meester), where everyone could see the results of her work.

My Night Watch

I don’t recall when I saw The Night Watch the first time. It must have been when I was small. We lived in Amsterdam, and we went to the museum often. What I do know is that it didn’t make as much of an impression on me as Rembrandt’s Anatomy Lesson. I fainted the first time I saw that painting. The man in it is so dead, lying there in such an open way. It’s fascinating because of how real it looks. I thought that at the time as well, but I still found it difficult to look at. My mother brings it up to this day.

The Night Watch was a painting I took for granted – it was simply there. It may have been our nation’s most famous painting, but I wouldn’t specially go to see it when I visited the Rijksmuseum. I’d usually dive straight into the side galleries to see the works there. But that all changed when I did The Master’s Secret. I no longer walk past it – I’ve come to appreciate the painting far more.

I’ve studied every square millimetre of the canvas, and attempted to reconstruct it. It taught me a lot about how Rembrandt painted: in some parts he was very nonchalant and brisk, while in others he worked with intense attention to detail – but always in a highly accomplished way. I definitely gained more respect for Rembrandt as a painter.

What’s really striking to me is that Rembrandt has portrayed all the figures in such an affectionate way. I can’t imagine he felt an equal sense of affinity with all the militiamen, but he still rendered them with the same level of empathy. He presented all these individuals in a sympathetic manner, despite them all being members of a pretty warlike militia.

This commission certainly wasn’t the easiest job I’ve ever done: it’s a huge canvas, it took a long time, and there were plenty of issues. I’m taking a break from The Night Watch right now, but I’m sure the moment will come when I want to see it again. The location and the limited time available meant we cut corners, and I’ve still got lots of questions about how exactly Rembrandt did certain things. Actually, what I’d like best is to reconstruct a small section of The Night Watch again and then see if I can use what I’ve learned to get closer to his way of working, to get some things more accurate. But first I’m going to complete my thesis on 17th-century painting techniques and focus on my own work.

Photo: AvroTros