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T H E O T H E R S I D E O F A N i g h t w a t c h 3 6 0 -TheOthersideof Art- A project by Julius Rooymans, Hans Ubbink and Jessica Karelsen ©2019 For inquiries please contact Martijn Wanrooij @ info@wanrooijgallery.com Nightwatch360 Julius Rooymans and Hans Ubbink worked with experts from the Netherlands and abroad on the precise reconstruction of the masterpiece as a photograph, in which Rembrandt's painting from 1642 was copied in its original format (over 4 by 5 meters, including the parts cut off in 1715). For the project, lookalikes were used, which resemble their predecessors in paint so much that they can pass for it. Subsequently, costumes and attributes that are visible in the original painting were copied in as realistic and authentic way as possible. The project uses authentic seventeenth-century armour, weapons and helmets from collections of collectors in the Netherlands. Objects that no longer existed or were conceived by Rembrandt himself were specially designed for this project, using both traditional seventeenth-century and contemporary techniques. The background is made up of elements of historic Amsterdam and the home town of Rembrandt, Leiden. For example, the fencing that the powder boy holds (left in the image) was photographed in Leiden. It is located between Rembrandt’s birth house in the Weddesteeg and his first studio at the Kort Galgewater. Most of the bricks are shot at the Nieuwe Kerk and the Palace on the Dam. Nightwatch360 3420x535 cm 6 0 The Other side of Art Rooymans and Ubbink added another element to their reconstruction of the Night Watch: The Other side of Art. Their own curiosity about the background against which Rembrandt's masterpiece came about led: While the Night Watch shows the splendour of the exterior, the Keerzijde shows scenes from the life of Rembrandt as an artist. “What would you see if you could look back in time through the canvas through the canvas? What kind of room are the shooters actually located, and where is the painter who managed to immortalize them in glorious regions of oil paint? When we release all speculation about the visible representation on the painting, the perspective expands - literally and figuratively. The frame of the painting no longer determines the framework within which the performance takes place. That story goes much further. “ The Other side of Art 3 6420x535 cm 0 N i g h t w a t c h 3 6 0 -TheOthersideof Art- Met zekerheid en Hartstocht 90x70 cm 3 6 0Fine art pigment print on Hahnemüle Baryta paper N i g h t w a t c h 3 6 0 -TheOthersideof Art- In den zetel getroffen 110x96 cm 3Fine art pigment print on Hahnemüle Baryta paper 6 0 N i g h t w a t c h 3 6 0 -TheOthersideof Art- Standvastig en met zachte hand 130x102 cm 3Fine art pigment print on Hahnemüle 6 Baryta paper 0 N i g h t w a t c h 3 6 0 -TheOthersideof Art- Den Veinsaard 130x102 cm N i g hFine art pigment print on Hahnemüle Baryta paper t w a t c h N i g h t w a t c h 3 6 0 -TheOthersideof Art- Consigne 170x124 cm N i g h tFine art pigment print on Hahnemüle Baryta paper w a t c h N i g h t w a t c h 3 6 0 -TheOthersideof Art- Het Vreselijk Leedwezen 170x124 cm N i g h t Fine artw pigment print on Hahnemüle Baryta paper a t c h N i g h t w a t c h 3 6 0 -TheOthersideof Art- Gewis 90x70 cm N i g h t wFine art pigment print on Hahnemüle Baryta paper a t c h N i g h t w a t c h 3 6 0 -TheOthersideof Art- Goede Sier 46,5x40 cm N i g h t w a tFine art pigment print c on Hahnemüle Baryta paper h N i g h t w a t c h 3 6 0 -TheOthersideof Art- Onverzettelijk want nooit van Slag 90x70 cm N i g hFine art pigment print on Hahnemüle Baryta paper t w a t c h N i g h t w a t c h 3 6 0 -TheOthersideof Art- Jakobuszoon 46,5x40 cm NFine art pigment print on Hahnemüle Baryta paper i g h t w a t c h N i g h t w a t c h 3 6 0 -TheOthersideof Art- Koen en Fier 130x102 cm NFine art pigment print i on Hahnemüle Baryta paper g h t w a t c h N i g h t w a t c h 3 6 0 -TheOthersideof Art- Grillige Koers 46,5x40 cm N iFine g art pigment print on Hahnemüle Baryta paper h t w a t c h Boete 150x212 cm N i g hFine art pigment print on Hahnemüle Baryta paper t w a t c h N i g h t w a t c h 3 6 0 -TheOthersideof Art- De argeloze Hoedster 130x102 cm N iFine art pigment print on Hahnemüle g Baryta paper h t w a t c h N i g h t w a t c h 3 6 0 -TheOthersideof Art- Het Verboden Pleit 130x102 cm N i g hFine art pigment print on Hahnemüle t Baryta paper w a t c h N i g h t w a t c h 3 6 0 -TheOthersideof Art- De Knakenpoetser 90x70 cm N i gFine art pigment print on Hahnemüle Baryta paper h t w a t c h N i g h t w a t c h 3 6 0 -TheOthersideof Art- Deemoedig 46,5x40 cm N i g hFine art pigment print t on Hahnemüle Baryta paper w a t c h N i g h t w a t c h 3 6 0 -TheOthersideof Art- De Dronkaard 130x102 cm N i g h t w aFine art pigment print on Hahnemüle Baryta paper t c h N i g h t w a t c h 3 6 0 -TheOthersideof Art- Hendrikje Stoffels Meanwhile Hendrickje Stoffels had become Geertje's successor as mistress. In 1654 she received an official reprimand from the church because she lived 'in fornication' with the painter. In the same year they had a daughter, whom they called Cornelia, after Rembrandt's mother. Rembrandt lived beyond his means at the time. He regularly bought exotic objects, including special items of clothing, which he often used in his paintings. In 1656 he was no longer able to fulfill his obligations to pay off the loans for his house and Rembrandt's bankruptcy was applied for. In 1660 Hendrickje had set up an art dealership with Titus. Everything the family owned had become the property of that company. Rembrandt was employed as an advisor. He received food and lodging for that, and some pocket money. Rembrandt had to protect this construction against creditors. In 1663 the plague made many victims in Amsterdam. One of them was Hendrickje Stoffels. She died in the house on the Rozengracht, where she had moved to Rembrandt five years earlier, after he had to sell the house on Jodenbreestraat. Hendrickje was not yet forty. Hendrikje 170x124 cm N i g h tFine art pigment print on Hahnemüle Baryta paper w a t c h N i g h t w a t c h 3 6 0 -TheOthersideof Art- De barak in den Pleeg 90x70 cm N i gFine art pigment print on Hahnemüle Baryta paper h t w a t c h N i g h t w a t c h 3 6 0 -TheOthersideof Art- Minnepracht 90x70 cm N i g h t w a t c h t 3 6Fine art pigment print on Hahnemüle Baryta 0 paper Een Luit leven 150x198 cm N i g h t wFine a art pigment print on Hahnemüle Baryta paper t c h N i g h t w a t c h 3 6 0 -TheOthersideof Art- Spinoza A reference to Baruch Spinoza, a 17th century philosopher who looked at ordinary things in a new way. There are all sorts of things that people in the seventeenth century find very normal. Spinoza asks many questions: How does a rainbow come about? Is it good if a king has all power? Is everything true in the Bible? How can you actually know if something is true? Time and again his radical views bring him into conflict with the established power. When Spinoza is twenty-three, he is banned from the Jewish community. He is no longer allowed to enter the synagogue and other Jewish people are no longer allowed to interact with him. Not even his family - a severe punishment. On the Other side we see him isolated and introverted. In Ethica, his masterpiece, Spinoza describes how he thinks about God. According to Spinoza, God is not a "person" who is above the world and rewards or punishes people. God is the world. Nature, animals, people: everything is God. And God is everything. That is why people must treat each other and nature carefully and properly. A person is no better than an animal. Because both are part of God. One person is no better than another, because both are a part of God. Most contemporaries of Spinoza think you shouldn't think and talk about God like that. With those ideas you can go to jail, or worse: at the stake. That is why Spinoza's book Ethica is only printed after his death.
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