Professional Documents
Culture Documents
Rijksmuseum
Rijksmuseum
Rijksmuseum
House
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PHOTO/ILLUSTRATION CREDIT
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READERS DIGEST
THIS IS THE MOMENT IVE BEEN WAITING FOR. After several days of
exploring both the public side and behind the scenes of Amsterdams
Rijksmuseum, Im about to be ushered into the museums holiest of
holies by one of its high priests. Gregor J.M. Weber, the museums
Head of the Department of Fine and Decorative Arts, and an
internationally-acclaimed expert on both Rembrandt and Vermeer,
has agreed to give me a personal tour of the museums most famous
painting, Rembrandts The Night Watch.
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The museums front entrance. When first opened in 1885, the 80-gallery building was
not widely admired. Today it is, with nearly two and half million visitors a year.
READERS DIGEST
once whitewashed over by past museum directors who believed they distracted from the artwork.
It wasnt until the recent ten-year
renovation that much of Cuypers
original vision and design was restored, she explains.
That renovation was begun in 2003
and was at first expected to take just
five years but in the end took ten years
and cost almost $500 million. The
comprehensive renovation involved
literally stripping the museum down
to its original framework, redesigning
it, rebuilding it and restoring some
5,000 of the museums 8,000 pieces of
artwork on display.
We ran into some problems, both
expected and unexpected, says Igor
Santhagens, the museums Project
Manager, as we sip strong Dutch coffee in his museum office. Sounding
slightly exasperated at the memory,
Santhagens explains, Anytime you
dig deeper than a few feet in Amsterdam you hit water. That complicates
matters.
He turns on his computer and
shows me a video of contractors
wearing scuba gear and laying a new
concrete floor under wateractually
some 30 feet below sea levelduring
the museums renovation.
And there was the matter of the
bikes. Or, more accurately, Amsterdams bicyclists, who had been merrily biking through a tunnel-like passageway that has cut the museum in
two ever since it was first built. When
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READERS DIGEST
RES TO
took six months to restore the paint- Senior Conservator Iskander Breeing and some of the cuts can still be baart are restoring.
seen on it. After a man threw acid
As I watch Breebaart painstakingly
on the painting in 1990, guards were use cotton swabs dipped in ethanol to
able to save it from serious damage by clean off layer after layer of centuriesquickly diluting it with water. The acid old shellac and varnish from one of
had only penetrated
the cabinets carved
the outer layer of varfigures, Van Duin exnish.
plains
how technology
RAT
MODERN
The floor beneath
has transformed the
the painting hides
restoration and conserTECHNOLOGY
a secret door. In the
vation world. Twenty
HAS
event of fire or other
five years ago we didnt
TRANSOFRMED
emergency the painthave
all the tools we
THE ART OF
ing (and others) can be
have
today, such as
RESTORATION
lowered into the floor
DNA
test i ng, X- ray
AND
and out of the museum
fluorescence spectrosCONVSERVATION.
to safety by means of a
copy, gas chromatograspecially constructed
phy, and more that let
trap door, dubbed the Night Watch us discover exactly what these artists
hatch. During World War II the mas- used to build and finish their work.
sive painting was rolled up, removed Now we can use all these high-tech
from the museum and hidden from innovations to help us restore and
the Nazis in limestone caves near conserve our collections.
Maastricht, in the southern NetherVan Duin shows me a picture of his
lands.
favorite piece, a 17th century Dutch
cabinet covered with intricate floral
fter being ushered through a marquetry and built by famed Dutch
security gauntlet of several furniture maker Jan van Mekeren.
keyless entry doors in a four- Thanks to our research, we were able
story office building on the museum to discover what finishes van Megrounds, I am greeted by Paul Van keren had used and repair previous
Duin, the Rijksmuseums Head of Fur- badly done repairs. The conservation
niture Conservation in his high-tech treatment took about a year for Van
studio and conservation laboratory. Duin and his three-person staff. The
Not many outsiders get in here, says museum employs almost 50 full-time
Van Duin as he proudly shows me an conservators.
He compares conservation to surelegant, six-foot-tall wooden cabinet
made in Holland in 1650 that he and gery, explaining how his staff may
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X-ray a piece to see how it was put together and then carefully peel off a veneer by melting glue so as not to damage it. We want to restore the piece to
the way the builder envisioned it, but
without removing original material,
he says. He admits, Its an honor to
work with these masterpieces and in
many cases restore them to their former glory.
Technology is not the only change
thats affected the world of restoration.
Gregor J.M. Weber tells me that when
the museum set out to restore one of
its most famous paintings, Vermeers
Woman in Blue Reading a Letter, it
sought the advice of international experts. We formed a commission and
asked for recommendations from
around the world before we made a
move, remembers Weber. One hundred years ago a restorer typically
worked alone, and may have made
major changes to a painting without
consulting anyone because he considered himself the second Vermeer.
Indeed, X-ray fluorescence scanning recently proved that a previous,
over-enthusiastic 20th century Rijksmuseum restorer had added several
pearls to Vermeers Woman in Blue
Reading a Letter. After discovering
the addition, and consulting with
his international commission, Weber
and his team removed the pearls during the one-year-long restoration and
cleaning, returning the painting to its
original state. Says Weber, Happily,
those days are long gone. Restoration
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