A recent study has revealed that the dog featured in Rembrandt van Rijn’s iconic painting, “The Night Watch,” was likely inspired by an illustration from a popular book on human desires. This intriguing connection sheds light on the creative processes of one of the most revered artists of the Dutch Golden Age.
The research suggests that the dog, which appears amidst the citizens of Amsterdam preparing to defend their city, closely resembles a figure from the title page of a book illustrated by Adriaen van de Venne. This book, which explored the temptations of the flesh, was widely circulated during Rembrandt’s time. The discovery has garnered attention as “The Night Watch” undergoes restoration at the Rijksmuseum in Amsterdam, where it is currently displayed under a protective glass enclosure.
Curator of 17th-century Dutch paintings at the Rijksmuseum, Anne Lenders, made the connection while viewing a Van de Venne exhibition at the Zeeuws Museum in Middelburg last year. “As soon as I saw that dog, ‘The Night Watch’ dog came into my mind — I recognized it by the turn of the head,” Lenders noted. This observation prompted further investigation into the painting’s chalk underdrawing using macro X-ray fluorescence scans, revealing additional similarities between the two canines.
In his final depiction, Rembrandt altered the posture of the dog, placing it on all four legs and adding a tongue to suggest it was barking at a nearby drum. Lenders remarked, “It’s very clever how Rembrandt adjusted his dog, putting it in an active stance, vigilant and alert. At any moment, his dog could run away, and this strengthens the living quality of the painting.” This attention to detail emphasizes the dynamic nature of the scene and the role the dog plays in creating a sense of imminent action.
Rembrandt is known to have owned a significant collection of prints by Van de Venne, further underscoring his engagement with the artistic community of his time. Lenders also noted that another figure from the same illustration bears resemblance to elements in Rembrandt’s later work, “Joseph Accused by Potiphar’s Wife,” painted in 1655 and housed in the Gemäldegalerie in Berlin.
Taco Dibbits, director of the Rijksmuseum, explained that what modern audiences may interpret as “copying” was often a vital part of an artist’s training and a demonstration of knowledge. He commented, “He didn’t want people to call him Rembrandt van Rijn, but just Rembrandt, like Michelangelo. He really wanted, just like the Italians, to be that learned artist who based himself on prints from his predecessors, who could copy so incredibly well and know them so intimately that he developed them further.”
This new insight into Rembrandt’s artistic influences not only enriches the understanding of “The Night Watch” but also highlights the interconnectedness of artists in the 17th century. As restoration efforts continue, the painting will not only preserve Rembrandt’s legacy but also invite further exploration of the sources that inspired his groundbreaking work.
