02.00
Because of large scale restoration work to Amsterdams Rijksmuseum, Rembrandts masterpiece The Nightwatch has to be moved from its current home. Although it only has to be moved about 200 metres, moving the painting is a military scale operation.
02.23 IV
-Yes, we are of course privileged to be able to come here without the public. I reckon I come around ten times a month to look at the painting.
-(Q) And what do you think?
-Oh yes, now it is still hanging here and later on no longer. 02.46
-The name Nightwatch does not refer to a regular army corps, as one might expect. It was actually a civic guard, comprising men who used to guard the city alongside there normal professions. Sect 1 03.04 The huge wooden crate in which the painting will be moved measures 480cm by 405 cm. The specialist art removals firm has devoted weeks to customising this crate. 03.22 IV art transporter
-The difficulty with this box is that it must be able to dismantle completely 03.30
-The painting is too large to be moved inside the museum 03.35
-Normally putting these parts together will create a strong enough construction. However, since the crate must also be dismantled once it has been moved, attaining the required strength is more problematic. 03.48
-Yes, we have had larger sizes, much longer, but never this high Sect 2a
(Images: tea cosy on the motorway. Vacuuming and weighing the Nightwatch. Extra protection.) 04.00 IV
-The size of the painting causes complications. It is hard to negotiate the corridors bearing such a weight. In the past there was an underground passage within the museum which we could have used, but this no longer exists. So we have to find a different way. 04.23 As well as being inside the crate, the Nightwatch will also travel in this protective cover. It has sensors to monitor temperature, humidity and vibrations, as well as providing extra protection en route. Sect 2b
(The Nightwatch gets a final dusting down.) Sect 2c
(Finishing odds and ends before the test run) Sect 3 04.45 UPSOT guide
-Now, a month before the actual moving date, everybody involved in the operation gathers for the first time. This is a very important moment. 04.59
-This general rehearsal will be carried out as realistically as possible. That way when the time comes the operation will run like clockwork and hopefully together we will pull it off. 05.21 On 10th November, the test run takes place. The original painting will remain on view until the last moment. A substitute is used, with identical measurements. It is good practice for the team of removal men and museum staff involved in the operation. 05.30
-Yes, move around 05.38
-And what about protecting the back? 05.40
-Yes, we worked on that but it doesnt make sense because the canvas will flap anyway.
Now, we get a different situation.
The flapping is reduced.
Perhaps it is because of your good painting job? 05.55
-All together now, on my signal. 05.58
-The helpers on the outside guide him along, right? Sect 4 06.05 Moving the Nightwatch is an extremely rare event. The painting has only left the Rijksmuseum twice since 1885. The last time was in September 1939 at the outbreak of World War II. The Nightwatch was rehoused at the Castle Radboud near Medemblick - a precautionary measure by the Rijksmuseum in case Amsterdam was bombed. 06.26 IV
-Following the Nazi invasion of the Netherlands on 10th May 1940, Castle Radboud found itself immediately in the thick of the fighting. Accordingly, the decision was taken to move the Nightwatch. On 13th May the Nightwatch, shrouded in canvas and completely hidden, was transported by special convoy to a secret shelter in Amsterdam, near Castricum. 07.04
-Since the shelter was too small to house the whole painting, the Nightwatch was rolled around a cylinder and then stored there. 07.25
-Yes, it is possible to roll up a painting, provided the paint is on the outside; this is what happened with the Nightwatch. It was as a last resort.
Sect 5a 07.52 The dress rehearsal. The crate arrives in the Nightwatch room. It weighs some 180kg. 07.57
-Hold on to the right! 08.05
-Yes, we have to make a turn over there. 08.19
-Look, those handles should be higher; those chaps lift themselves a fraction 08.22 Upsot
-Lets see, how to do this. They completely bend over!
He cannot hold on much longer, that must be improved.
08.30
-Lets go, let it go, the cloth must come down, then we can see if it is alright and straight. Sect 5b 08.31 The case is wrapped in special cloth before being moved. 08.42 upsot
-I think the first method was the best. Lets get this roller-blind around it. Sect 5c 08.51 IV
-In order to protect the varnish layer of the painting we need to have the canvas nice and neat. Any wrinkles will create pressure points, which must be avoided at all costs. 09.01
-From the bottom we can get it tighter than from the top, although it touches the paint. 09.24
-Seriously, now it will really take place, a moment ago I imagined, yes, well, ok. 09.35 The case is raised into the lift shaft. Care and attention to detail are crucial, as there are only centimetres to spare. 09.41
-Higher, higher, I would move two jolts higher. 09.53
-It is stuck. It is grounded. 10.00
-Im very glad were having this rehearsal now. 10.05
-Lower her a bit; ok. 10.08
-It was very tense; we knew it would be touch and go. 10.10 IV
-We came up short by about 20cm and the hoist trap-door could not close. So we had to shorten the hoisting ropes and hook up again, so we could first lower completely, and then up again. Fortunately this time we were able to close the hoist trap-door. 10.38
-Yes, of course, all our measurements were very precise. Every inch counts. After that somebody else took the measurements again. You want to be certain. No risks. 10.54
-Yes, it made me very nervous. 11.00 The Nightwatch is far and away the most valuable object in the Rijksmuseum. It dates from 1642, and is regarded priceless. Its uninsurable. In the painting Rembrandt depicted the Amsterdam elite, with one exception - the artist himself can be spotted amongst the noblemen. 11.25 IV
-Yes, these are very important people. There are 18 of them and each paid 100 florins to be portrayed. Quite a lot of money in those days. 11.34
-For me, the importance and beauty of this painting rest in the dynamic enormity it radiates(?). You are drawn into the centre of this spectacle. But also the way Rembrandt painted, his style and freedom of expression, is attractive to the eye. His use of colours, and particularly his mastery of light and dark, is exceptional. One is never bored Sect 7 12.03 The combined weight of the painting, crate, cover and cast is around 1900 kg. Six transporters are required. It is a unique spectacle on Amsterdams Museumplein. 12.26 upsot
-It does rather resemble a funeral procession, dont you think?
Yes, it does 12.34
-Look out, correct carefully! 12.41
-Shall we try again? The whole procedure?
-Yes, everything. Lets do it. 12.50 - IV
-The first time we went down the slope towards the Museumplein it was too steep. And the crate weighs about 2 tonnes, so we had to take some breaks. We tested the speed twice, and the second time we went slower and managed to keep more control over the crate. Sect 8 13.15 During the Nazi occupation of the Netherlands in World War Two, the Nightwatch had to be moved around a number of times. Its final hiding place in 1942 was 35 metres underground in the town of St Pietersburg, near the southern city of Maastricht. In June 1945 the Nightwatch was returned to Amsterdam by ship, in the care of a somewhat clumsy curate. 13.32 - IV
-We have in our possession a letter from an employee who worked in the painting department. It was from a Madame Ogtman, who a few years ago wrote to the Rijksmuseum about a precious little story.
There was our national glory, neatly rolled up in the hold of a barge. We all glimpsed over the edge to have a look. Suddenly, we heard a muffled sound. To our fright, the director Mr van Schendel had fallen on top of the Nightwatch. Curiously enough, nobody wondered if van Schendel was hurt, everybody yelled Good heavens, is the Nightwatch alright? Sect 9 14.16 upsot
-Easy, easy.
Yes, take those off.
Are you doing fine Louis?
Here its ok. 14.20 This is the final practice. The painting is to be moved to an adjoining wing of the museum, the only suitable housing space for this priceless artwork. It will still be open to the public. In the company of 28 world-famous artworks, the Nightwatch still stands out from the crowd. 14.55 IV
-During a rehearsal you test everything out. You adopt and improve. You discover that you have to prepare even better. -This trial was successful. The box is now on the other side and that is what will happen eventually with the real Nightwatch. Result The real move is imminent. And in four years time, The Nightwatch will be returned to its original space. Cue another military operation on Museumplein.
A documentary by Herman van Gelderen & Harro Brouwer.
-Yes, we are of course privileged to be able to come here without the public. I reckon I come around ten times a month to look at the painting.
-(Q) And what do you think?
-Oh yes, now it is still hanging here and later on no longer. 02.46
-The name Nightwatch does not refer to a regular army corps, as one might expect. It was actually a civic guard, comprising men who used to guard the city alongside there normal professions. Sect 1 03.04 The huge wooden crate in which the painting will be moved measures 480cm by 405 cm. The specialist art removals firm has devoted weeks to customising this crate. 03.22 IV art transporter
-The difficulty with this box is that it must be able to dismantle completely 03.30
-The painting is too large to be moved inside the museum 03.35
-Normally putting these parts together will create a strong enough construction. However, since the crate must also be dismantled once it has been moved, attaining the required strength is more problematic. 03.48
-Yes, we have had larger sizes, much longer, but never this high Sect 2a
(Images: tea cosy on the motorway. Vacuuming and weighing the Nightwatch. Extra protection.) 04.00 IV
-The size of the painting causes complications. It is hard to negotiate the corridors bearing such a weight. In the past there was an underground passage within the museum which we could have used, but this no longer exists. So we have to find a different way. 04.23 As well as being inside the crate, the Nightwatch will also travel in this protective cover. It has sensors to monitor temperature, humidity and vibrations, as well as providing extra protection en route. Sect 2b
(The Nightwatch gets a final dusting down.) Sect 2c
(Finishing odds and ends before the test run) Sect 3 04.45 UPSOT guide
-Now, a month before the actual moving date, everybody involved in the operation gathers for the first time. This is a very important moment. 04.59
-This general rehearsal will be carried out as realistically as possible. That way when the time comes the operation will run like clockwork and hopefully together we will pull it off. 05.21 On 10th November, the test run takes place. The original painting will remain on view until the last moment. A substitute is used, with identical measurements. It is good practice for the team of removal men and museum staff involved in the operation. 05.30
-Yes, move around 05.38
-And what about protecting the back? 05.40
-Yes, we worked on that but it doesnt make sense because the canvas will flap anyway.
Now, we get a different situation.
The flapping is reduced.
Perhaps it is because of your good painting job? 05.55
-All together now, on my signal. 05.58
-The helpers on the outside guide him along, right? Sect 4 06.05 Moving the Nightwatch is an extremely rare event. The painting has only left the Rijksmuseum twice since 1885. The last time was in September 1939 at the outbreak of World War II. The Nightwatch was rehoused at the Castle Radboud near Medemblick - a precautionary measure by the Rijksmuseum in case Amsterdam was bombed. 06.26 IV
-Following the Nazi invasion of the Netherlands on 10th May 1940, Castle Radboud found itself immediately in the thick of the fighting. Accordingly, the decision was taken to move the Nightwatch. On 13th May the Nightwatch, shrouded in canvas and completely hidden, was transported by special convoy to a secret shelter in Amsterdam, near Castricum. 07.04
-Since the shelter was too small to house the whole painting, the Nightwatch was rolled around a cylinder and then stored there. 07.25
-Yes, it is possible to roll up a painting, provided the paint is on the outside; this is what happened with the Nightwatch. It was as a last resort.
Sect 5a 07.52 The dress rehearsal. The crate arrives in the Nightwatch room. It weighs some 180kg. 07.57
-Hold on to the right! 08.05
-Yes, we have to make a turn over there. 08.19
-Look, those handles should be higher; those chaps lift themselves a fraction 08.22 Upsot
-Lets see, how to do this. They completely bend over!
He cannot hold on much longer, that must be improved.
08.30
-Lets go, let it go, the cloth must come down, then we can see if it is alright and straight. Sect 5b 08.31 The case is wrapped in special cloth before being moved. 08.42 upsot
-I think the first method was the best. Lets get this roller-blind around it. Sect 5c 08.51 IV
-In order to protect the varnish layer of the painting we need to have the canvas nice and neat. Any wrinkles will create pressure points, which must be avoided at all costs. 09.01
-From the bottom we can get it tighter than from the top, although it touches the paint. 09.24
-Seriously, now it will really take place, a moment ago I imagined, yes, well, ok. 09.35 The case is raised into the lift shaft. Care and attention to detail are crucial, as there are only centimetres to spare. 09.41
-Higher, higher, I would move two jolts higher. 09.53
-It is stuck. It is grounded. 10.00
-Im very glad were having this rehearsal now. 10.05
-Lower her a bit; ok. 10.08
-It was very tense; we knew it would be touch and go. 10.10 IV
-We came up short by about 20cm and the hoist trap-door could not close. So we had to shorten the hoisting ropes and hook up again, so we could first lower completely, and then up again. Fortunately this time we were able to close the hoist trap-door. 10.38
-Yes, of course, all our measurements were very precise. Every inch counts. After that somebody else took the measurements again. You want to be certain. No risks. 10.54
-Yes, it made me very nervous. 11.00 The Nightwatch is far and away the most valuable object in the Rijksmuseum. It dates from 1642, and is regarded priceless. Its uninsurable. In the painting Rembrandt depicted the Amsterdam elite, with one exception - the artist himself can be spotted amongst the noblemen. 11.25 IV
-Yes, these are very important people. There are 18 of them and each paid 100 florins to be portrayed. Quite a lot of money in those days. 11.34
-For me, the importance and beauty of this painting rest in the dynamic enormity it radiates(?). You are drawn into the centre of this spectacle. But also the way Rembrandt painted, his style and freedom of expression, is attractive to the eye. His use of colours, and particularly his mastery of light and dark, is exceptional. One is never bored Sect 7 12.03 The combined weight of the painting, crate, cover and cast is around 1900 kg. Six transporters are required. It is a unique spectacle on Amsterdams Museumplein. 12.26 upsot
-It does rather resemble a funeral procession, dont you think?
Yes, it does 12.34
-Look out, correct carefully! 12.41
-Shall we try again? The whole procedure?
-Yes, everything. Lets do it. 12.50 - IV
-The first time we went down the slope towards the Museumplein it was too steep. And the crate weighs about 2 tonnes, so we had to take some breaks. We tested the speed twice, and the second time we went slower and managed to keep more control over the crate. Sect 8 13.15 During the Nazi occupation of the Netherlands in World War Two, the Nightwatch had to be moved around a number of times. Its final hiding place in 1942 was 35 metres underground in the town of St Pietersburg, near the southern city of Maastricht. In June 1945 the Nightwatch was returned to Amsterdam by ship, in the care of a somewhat clumsy curate. 13.32 - IV
-We have in our possession a letter from an employee who worked in the painting department. It was from a Madame Ogtman, who a few years ago wrote to the Rijksmuseum about a precious little story.
There was our national glory, neatly rolled up in the hold of a barge. We all glimpsed over the edge to have a look. Suddenly, we heard a muffled sound. To our fright, the director Mr van Schendel had fallen on top of the Nightwatch. Curiously enough, nobody wondered if van Schendel was hurt, everybody yelled Good heavens, is the Nightwatch alright? Sect 9 14.16 upsot
-Easy, easy.
Yes, take those off.
Are you doing fine Louis?
Here its ok. 14.20 This is the final practice. The painting is to be moved to an adjoining wing of the museum, the only suitable housing space for this priceless artwork. It will still be open to the public. In the company of 28 world-famous artworks, the Nightwatch still stands out from the crowd. 14.55 IV
-During a rehearsal you test everything out. You adopt and improve. You discover that you have to prepare even better. -This trial was successful. The box is now on the other side and that is what will happen eventually with the real Nightwatch. Result The real move is imminent. And in four years time, The Nightwatch will be returned to its original space. Cue another military operation on Museumplein.
A documentary by Herman van Gelderen & Harro Brouwer.