By Mike Corder
AMSTERDAM (AP) --One of Rembrandt van Rijn's biggest paintings just got a bit bigger.
A marriage of art and artificial intelligence has enabled Amsterdam's Rijksmuseum to recreate parts of the iconic "Night Watch" painting that were snipped off 70 years after Rembrandt finished it.
The printed strips now hang flush to the edges of the 1642 painting in the museum's Honor Gallery. Their addition restores to the work the off-center focal point that that rebellious Golden Age master Rembrandt originally intended.
"It can breathe now," museum director Taco Dibbits told The Associated Press on Wednesday.
The crowded painting's two main characters, Captain Frans Banninck Cocq and Lieutenant Willem van Ruytenburch, are central in the chopped down painting. With the new digital additions — particularly a strip on the left of the painting that features two men and makes clear that a boy is looking over a balustrade — the main figures effectively are shifted to the right.
"It really gives the painting a different dynamic," Dibbits said. "And what it taught us is that Rembrandt never does what you expect."
The museum always knew the original, uncut, painting was bigger, in part thanks to a far smaller copy painted at the same time that is attributed to Gerrit Lundens.
Researchers and restorers who have painstakingly pored over the work for nearly two years using a battery of high tech scanners, X-rays and digital photography combined the vast amount of data they generated with the Lundens copy to recreate and print the missing strips.
"We made an incredibly detailed photo of the Night Watch and through artificial intelligence or what they call a neural network, we taught the computer what color Rembrandt used in the Night Watch, which colors, what his brush strokes looked like," Dibbits said.
The machine learning also enabled the museum to remove distortions in perspective that are present in the Lundens copy because the artist was sitting at one corner while he painted Rembrandt's painting.
The reason the 1642 group portrait of an Amsterdam civil militia was trimmed is simple: It was moved from the militia's club house to the town hall and there it didn't fit on a wall between two doors. A bit of very analog cropping with a pair of scissors ensued and the painting took on the dimensions that have now been known for centuries. The fate of the pieces of canvas that were trimmed off remains a mystery.
The digital recreation that will be on show in coming months come as part of research and restoration project called " Operation Night Watch " that began just under two years ago, before the global pandemic emptied museums for months.
Under relaxations of the Dutch COVID-19 lockdown, the museum can welcome more visitors from this weekend, but still only about half of its normal capacity.
During the restoration project, the painting was encased in a specially designed glass room and studied in unprecedented detail from canvas to the final layer of varnish.
Among that mound of data, researchers created the most detailed photograph ever made of the painting by combining 528 digital exposures.
The 1642 painting last underwent significant restoration more than 40 years ago after it was slashed by a knife-wielding man and is starting to show blanching in parts of the canvas.
Dibbits said the new printed additions are not intended to trick visitors into thinking the painting is bigger, but to give them a clear idea of what it was supposed to look like.
"Rembrandt would have definitely done it more beautifully, but this comes very close," he said.
Review: Malcolm Washington Makes His Feature Directing Debut With “The Piano Lesson”
An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson's "The Piano Lesson." Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington's footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.
Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it's second nature, it would be hard, one imagines, to go wrong. Jackson's own history with the play goes back to its original run in 1987 when he was Boy Willie.
It's not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with "Mudbound" screenwriter Virgil Williams, goes beyond Wilson's text and shows us the past and the origins of the intricately engraved piano that's central to all the fuss. It even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family's home. Another fleshes out Doaker's monologue in which he explains to the uninitiated, Fisher's Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes... Read More