https://earlymoderneurope.hist.sites.carleton.edu/files/original/0ae5fc484d9646f3c45db93b662b6476.jpg c7401f4b51fa944af6608c5819e9264e Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting Physical Dimensions The actual physical size of the original image 379.5 cm x 453.5 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Company of Frans Banning Cocq and Willem van Ruytenburgh, known as the ‘Night Watch’. Creator An entity primarily responsible for making the resource Rembrandt van Rijn Contributor An entity responsible for making contributions to the resource Adam Smart Date A point or period of time associated with an event in the lifecycle of the resource 1642 Description An account of the resource This painting by Rembrandt highlights the emerging class of city elites in the Netherlands during the early modern period, and the social mobility which characterized the economic climate of the Netherlands at this time. The main subject of the painting, Frans Banning Cocq, participated in the city council of Amsterdam and eventually became the burgomaster of the city. This prestigious career had humble beginnings, however, as Cocq was the son of an immigrant from Northern Germany and was allegedly impoverished in the early years of his stay in Amsterdam (Haley 56). This rise to power demonstrates the degree to which the citizens of Amsterdam and migrants from abroad could move up in social and economic status within the Dutch Republic: through economic successes or from strategic marriages into the existing urban circles of the time, one could become a member of powerful institutional structures in Amsterdam (Haley 53). Rembrandt painted portraits of many members of this prominent class, many of whom had also risen up the social ladder of Amsterdam society. Elias Trip, for example, migrated to Amsterdam from Germany and became a prominent arms dealer and investor in the Dutch East India Company (Haley 56). In this way, Rembrandt’s artistic world differed from the Renaissance. While Rembrandt sometimes painted for the stadtholder of the Dutch Republic (Israel 561), the large number of urban elites also commissioned individual works from the Dutch master. Alongside urban and political patrons, Rembrandt utilized the growing number of art dealers to sell his paintings which were not commissioned (Wiesner-Hanks 396). Rembrandt’s artistic innovations include the development of “fine painting,” where artists created colorful artwork using expensive dyes and polishes which appealed to art enthusiasts. Rembrandt also painted in a style which evoked drama through lighting and the positioning of figures, which can be seen in works such as the “The Night Watch” (Israel 560-561). “The Night Watch” and the careers of both Rembrandt and Frans Banning Cocq serve as examples of the changing social and artistic climates of the Dutch Republic, and Europe, during the 17th century. Works Cited: Haley, K.H.D., The Dutch in the Seventeenth Century, 38-64, London: Thames and Hudson, 1972. Israel, Jonathan, The Dutch Republic. Oxford: Clarendon Press, 1995. Wiesner-Hanks, Merry E. “Cultural and intellectual life, 1600-1789” In Early Modern Europe, 1450-1789, 366-404. Cambridge University Press, 2013. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:The_Nightwatch_by_Rembrandt.jpg Rights Information about rights held in and over the resource This image is in the Public Domain.