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This week for our cultural article, we will be examining Rembrandt’s (1606 – 1669) 1642 painting, “The Night Watch.”
“The Night Watch” represents a style of painting that was unique to Holland and the northern Netherlands during the 17th century: the Schuttersstuk. Furthermore, Rembrandt’s rendition is, in and of itself, a highly original rendition in that it does not rely upon the typical rows of figures common to the style. Instead, Rembrandt’s painting featured animated subjects engaged in the various duties and responsibilities of the Civic Guard.
Painted using oils on a 142.9 by 172.0-inch canvas, “The Night Watch” is Rembrandt’s largest painting. Despite its title, the painting is actually set during the day. The reason the painting’s background looks so dark is that the varnish Rembrandt used darkened over the years. It was restored to its original glory in the 1940s, but the name “The Night Watch” stuck. On a side note, it is interesting to observe Rembrandt’s well-known use of the technique ‘chiaroscuror’ (Italian for ‘light-dark’) which uses light and dark to create dramatic contrasts and a sense of three-dimensionality.
Painted during the Dutch Golden Age, Rembrandt was commissioned to create the painting by the Kloveniersdolen – the guild hall of the Amsterdam Civic Guard Company of Musketeers. In the Netherlands, Civic Guardsmen were tasked with the defence of their cities, the maintenance of law and order, firefighting, and forming a strong presence during festivities and parades for visiting royalty. Each company of Civic Guardsmen had its own guild hall decorated, according to tradition, with group portraits of distinguished members. These portraits were designed to evoke a sense of affinity between the members of the company and asserted their power and status within the cities they protected.
This week we will be examining Sir Peter Paul Ruben’s (1577 – 1640) 1639 masterpiece, the Consequences of War.
In 1638, Rubens wrote a letter to Justus Sustermans (1597 – 1681), the court painter to the Grand Duke of Tuscany, Ferdinanda II de Medici (1610 – 1670), explaining the painting’s meaning:”The principal figure is Mars, who has left the open temple of Janus (which in time of peace,
“The principal figure is Mars, who has left the open temple of Janus (which in time of peace, according to Roman custom, remained closed) and rushes forth with shield and blood-stained sword, threatening the people with great disaster. He pays little heed to Venus, his mistress, who, accompanied by Amors and Cupids, strives with caresses and embraces to hold him. From the other side, Mars is dragged forward by the Fury Alekto, with a torch in her hand. Nearby are monsters personifying Pestilence and Famine, those inseparable partners of War. On the ground, turning her back, lies a woman with a broken lute, representing Harmony, which is incompatible with the discord of War. There is also a mother with her child in her arms, indicating that fecundity, procreation and charity are thwarted by War, which corrupts and destroys everything. In addition, one sees an architect thrown on his back, with his instruments in his hand, to show that which in time of peace is constructed for the use and ornamentation of the City, is hurled to the ground by the force of arms and falls to ruin. I believe, if I remember rightly, that you will find on the ground, under the feet of Mars a book and a drawing on paper, to imply that he treads underfoot all the arts and letters. There ought also to be a bundle of darts or arrows, with the band which held them together undone; these when bound form the symbol of Concord. Beside them is the caduceus and an olive branch, attribute of Peace; these are also cast aside. That grief-stricken woman clothed in black, with torn veil, robbed of all her jewels and other ornaments, is the unfortunate Europe who, for so many years now, has suffered plunder, outrage, and misery, which are so injurious to everyone that it is unnecessary to go into detail. Europe’s attribute is the globe, borne by a small angel or genius, and surmounted by the cross, to symbolize the Christian world.”
At a security conference in Germany, the former British Prime Minister, David Cameron, condemned multiculturalism as a failure. He stated: “we need less of the passive tolerance of recent years and much more active, muscular liberalism.” In a similar statement, the French president, Nicolas Sarkozy, also condemned the doctrine of multiculturalism. Sarkozy told the French people: “we have been too concerned about the identity of the person who was arriving and not enough about the identity of the country that was receiving him.” In recent years, the Western nations that have preached multiculturalism and diversity as bastions of peace, tolerance, and diversity – Great Britain, France, Germany, the United States – have been the primary targets of radical Islamic terrorism.
Progressives like to believe multiculturalism and diversity create harmonious and peaceful societies. When, in reality, it creates division. Telling newcomers that they do not have to assimilate into their adopted culture fosters tribalism: Irish form communities with fellow Irish, Muslims form communities with fellow Muslims, Japanese form communities with fellow Japanese, and so forth. As these cultures, especially those lacking the fundamental roots and beliefs of their adopted countries, compete for supremacy, they inevitably conflict with one another. So, whilst Germanic and French cultures may be able to live harmoniously thanks to their shared Christian heritage, the same cultures would not fare as well if they were expected to co-exist with a culture whose central tenants are profoundly different.
Why am I harping on about the inherent faults in multiculturalism and diversity? It is because I believe we have created the greatest culture mankind has ever seen: a culture that has produced Shakespeare, Mozart, Voltaire, Plato, Aristotle, John Locke, freedom and democracy, the television, the I-Phone, the movies, free market capitalism, Van Gogh, Da Vinci, Einstein, Newton, Mary Shelley, the Bronte sisters, and more. And I believe it is a culture worth protecting. And how do we protect it? We start by protecting the very things that have made the West so great in the first place: Christianity, an adherence to truth and a deep esteem towards the logos, the supremacy placed on individual rights and liberties, the free-market place of ideas and commerce, Small Governments, and political freedom.
Moral and cultural relativism is being used to tear down and replace the existing social order. When the Mayor of London, Shadiq Khan, is able to state “terror attacks are part and parcel of living in a big city” and young German women are able to hold signs proudly proclaiming “will trade racists for rapists” unopposed, it is clearly time for certain ideas to go away.