Rembrandt’s The Night Watch (1642) has been wax-resin lined, which involved attaching a new canvas to its reverse using a beeswax-resin mixture to achieve structural stabilisation and shielding against environmental humidity. We investigated the effect of wax-resin lining on water transport in The Night Watch using a one-dimensional, multi-layered water transport model based on ideal diffusion. Model input parameters were estimated using dynamic vapour sorption experiments. The paint layer response in the environmental conditions of the BIZOT Green Protocol was evaluated. During the fastest allowed RH fluctuation in BIZOT, water concentration in the paint layer of wax-resin lined paintings only reached 30% of the maximum concentration at static RH conditions (60% RH). Furthermore, we show that the water sorption capacity of the wax-resin adhesive of The Night Watch increased after ca. 50 years of natural ageing. Modelling results indicated that the effect of this increase on the overall response is minor.
In 1990, Rembrandt's The Night Watch was attacked with concentrated sulphuric acid. This study reassesses the affected area and aims to identify and characterise any secondary degradation products, as well as any challenges for the conservation treatment. A comprehensive analytical approach, using macroscopic X-ray fluorescence (MA-XRF), macroscopic X-ray powder diffraction (MA-XRPD), optical coherence tomography (OCT), and light microscopy, scanning electron microscopy combined with energy-dispersive X-ray (SEM-EDX) analysis, micro attenuated total reflectance Fourier transform infrared (& micro;-ATR-FTIR) spectroscopy and synchrotron radiation micro X-ray powder diffraction (SR-& micro;-XRPD) of three paint cross-sections, permitted the confirmation of anglesite (PbSO4) and extensive lead soap formation in the affected areas. Additionally, mock-ups were prepared and analysed to reconstruct the entire sequence of events of the acid attack. Current estimations predict that some of the damage to the paint layers will become discernible after varnish removal and that local consolidation of the fragile surface might be required.
In 1990, Rembrandt’s The Night Watch was attacked with concentrated sulphuric acid. This study reassesses the affected area and aims to identify and characterise any secondary degradation products, as well as any challenges for the conservation treatment. A comprehensive analytical approach, using macroscopic X-ray fluorescence (MA-XRF), macroscopic X-ray powder diffraction (MA-XRPD), optical coherence tomography (OCT), and light microscopy, scanning electron microscopy combined with energy-dispersive X-ray (SEM-EDX) analysis, micro attenuated total reflectance Fourier transform infrared (µ-ATR-FTIR) spectroscopy and synchrotron radiation micro X-ray powder diffraction (SR-µ-XRPD) of three paint cross-sections, permitted the confirmation of anglesite (PbSO4) and extensive lead soap formation in the affected areas. Additionally, mock-ups were prepared and analysed to reconstruct the entire sequence of events of the acid attack. Current estimations predict that some of the damage to the paint layers will become discernible after varnish removal and that local consolidation of the fragile surface might be required.
Art museums welcome visitors with varying levels of prior knowledge, making interpretive tools such as labels essential for encouraging engagement and improving understanding. In partnership with the Rijksmuseum in Amsterdam, this study explored how visitors respond to Formal–Descriptive versus newly designed labels accompanying paintings that address the Dutch colonial past. Formal–Descriptive labels were designed to guide the visitors view, while the Contextual–Historical labels aimed to raise historical awareness by focusing on colonial histories and their implications. As visitors have different motivations for coming to the museum, we examined two visitor profiles: “Pleasure Seekers”, who primarily visit for enjoyment and a visual experience, and “Art Lovers”, who tend to seek deeper contextual or historical meaning. Using a mixed-methods approach including eye tracking, interviews, and self-report measures, we examined visual attention, emotional responses, and interpretation across three paintings. Pleasure Seekers showed larger pupil diameters and spent more time reading labels than Art Lovers, possibly reflecting greater cognitive effort. Viewers in the Contextual–Historical label condition spent more time initially engaging with label content and made fewer saccades, indicating more focused attention. Interviews revealed that Art Lovers used more historically specific language. Questionnaire data showed that Formal–Descriptive labels were linked to more negative reactions to sensitive topics. These findings demonstrate that museums can integrate historically sensitive narratives without causing discomfort and underscore the importance of tailoring interpretive texts to diverse audiences to support reflection and inclusivity.
