In a groundbreaking study conducted by chemists at the Rijksmuseum and the University of Amsterdam (UvA), the mystery behind Rembrandt’s use of special arsenic sulfide pigments to create a “golden” paint has finally been unraveled. By utilizing sophisticated spectroscopic techniques, researchers were able to identify the presence of pararealgar and semi-amorphous pararealgar pigments in a detailed analysis of his renowned masterpiece, “The Night Watch.”
The research findings, published in the journal Heritage Science, shed light on Rembrandt’s intentional use of these particular arsenic sulfide pigments in conjunction with other pigments to achieve the striking golden luster seen in his artwork. The study, led by Ph.D. candidates Frédérique Broers and Nouchka de Keyser, highlights the artist’s unique choice of pigments to depict the intricate detailing of the clothing worn by Lieutenant Willem van Ruytenburch in “The Night Watch.”
The discovery of the arsenic sulfide pigments is a result of the ongoing research project known as Operation Night Watch, initiated in 2019. Through a comprehensive X-ray fluorescence (MA-XRF) scan of the painting, the presence of arsenic and sulfur in specific areas of Van Ruytenburch’s attire was initially detected. This led researchers to hypothesize the presence of orpiment and realgar, more commonly known arsenic sulfide pigments.
However, a detailed analysis of minuscule paint samples taken from the artwork revealed a different story. Advanced techniques such as light microscopy, micro-Raman spectroscopy, electron microscopy, and X-ray powder diffraction unveiled the surprising presence of pararealgar and semi-amorphous pararealgar pigments instead. This unexpected discovery challenged previous assumptions and offered new insights into Rembrandt’s artistic process.
The researchers postulate that Rembrandt deliberately opted for these unconventional arsenic sulfide components to accurately capture the golden nuances in Van Ruytenburch’s clothing. By heating the yellow pararealgar pigment, the artist was able to produce the reddish semi-amorphous pararealgar, which he then combined with lead-tin yellow and vermilion pigments to achieve the desired golden hue. This meticulous chemical approach is supported by a thorough review of historical sources documenting the use of arsenic sulfide pigments during the 17th century.
Furthermore, the study indicates that a wider range of arsenic pigments were available in 17th-century Amsterdam than previously believed. It is suggested that these pigments were imported through established trade routes from regions such as Germany/Austria and Venice. The researchers draw parallels between Rembrandt’s use of pararealgar and semi-amorphous pararealgar and the similar pigment combination employed by his contemporary, Willem Kalf, further solidifying their conclusions.
The revelation of Rembrandt’s meticulous use of arsenic sulfide pigments to create his distinctive “golden” paint offers a deeper understanding of the artist’s technical prowess and attention to detail. This groundbreaking study not only enriches our appreciation of Rembrandt’s work but also highlights the complexity and sophistication of artistic practices during the Dutch Golden Age.
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