Mixing with the Masters

THE subdued bustle of excitement in the crowded gallery seemed to be mirrored in the busy hubbub of Rembrandt's Night Watch, the interaction between audience and painting adding to the atmosphere of the masterpiece.

A snapshot in time depicting a microcosm of 17th Century Dutch society, Rembrandt's seminal work now hanging in the Rijksmuseum in Amsterdam flouted all conventions of the day, both artistic and social.

Instead of a statically posed painting using measured brushstrokes, he created a dynamic canvas bristling with life in every detail and laden with meaning.

To the untutored eye, the painting of a group of city guardsmen awaiting the command to fall in line radiates disorder. But with the help of an animated lecture by our enthusiastic guide, we were able to view it in a more meaningful light.

We were shown how the painting was bonded by an ordered scaffolding of lines defined by muskets and spears and how, with a stunning use of light, Rembrandt picked out the leader Frans Cocq, whose eminence was emphasised by the shadow of his hand cast on his more brightly dressed lieutenant. The interplay of characters emerging from the gloom adds to the richness of the composition.

Incidentally, it was only called the Night Watch because of a dark ageing varnish which had once hidden the very light which now gives the painting its rich vitality. This painting has become so symbolic of the Dutch nation that it has been the subject of numerous attacks from both acid and blade.

We left the painting humming with information to another seemingly mundane work which would not have warranted a second glance, but for its fascinating background, revealed by our guide.

It transpired this was the first still life to be defined as that. Johannes Torrentius' works were so realistic that it was thought by his contemporaries he had a pact with the devil to be able to produce such images.

In 1627 he was tried for heresy and immorality and was tortured and sentenced to be burned alive. But the sentence was commuted and, thanks to the intervention of King Charles II of England, he was released in 1630 and permitted to go - on condition that he did not return. This he foolishly did, only to be faced with the inevitable fate.

It is ironic that this work - the only one of his in existence and discovered by chance doubling as a barrel lid in the 1930s - should entreat onlookers to practise moderation.

It features a bridle symbolising self control, an upturned pipe for abstinence, water to dilute the wine and inscription which reads: "That which exists out of measure perishes in evil immeasurably".

It is always difficult to absorb too much in any gallery of note, and especially in a veritable national treasure house of this size. But our personal guide made for fascinating visit. The tour is now part of the Masters Package offered by KLM. If anything, a visit to the Rijksmuseum whets the appetite for more, and that is just what we were given in more than double measures as we followed in the footsteps of the masters.

Our next stop was Antwerp, the home of Peter Paul Rubens, whose work was dominated by the Catholic ethos and defined his age, while inspiring the likes of Rembrandt. Among his greatest altar works in the Cathedral of Our Lady are the Descent from the Cross and Elevation to the Cross.

Perhaps the jewel is Rubens' House which was entirely reconstructed during the Second World War. Based on two old sketches from the 1680s, the work was done with the avid help of the Nazis who had adopted Rubens as an example of a true Aryan.

Then to Leiden, birthplace of Rembrandt, and the Museum de Lakenhal, where our guide lamented that only two of the master's works are housed.

And on to Delft, where we looked for clues to the life of Johannes Vermeer, whose works are rare, but admired for the sensitivity with which he rendered the effects of light and colour. Much of his past is shrouded in mystery and many of the buildings associated with him have disappeared, including his home. But a large number of buildings dating from his time have been preserved and a stroll along Delft's narrow tree-lined canals evoked his times.

A fitting grand finale to the trip was a visit to Mauritshuis in The Hague, which houses the cream of the masters, including Rembrandt's Anatomy Lesson of Dr Nicolaas Tulp, a woman writing a letter by Gerard ter Borch and The Bull by Paulus Potter.

But for me the climax was seeing Vermeer's Girl With A Pearl Earring, which has to be seen in the flesh, literally, to appreciate the artist's magical skills. Although relatively a small work, it is completely captivating. The girl, whose identity remains unknown, seems to be captured as she is about to speak, with her slightly parted lips reflecting what appears to be a nervous lick. I was completely transfixed by her vulnerable gaze and had to wrench myself away well after the party had moved on, only to find myself stealing back to feast one more time on this timeless image. She seemed to be saying: "Don't go" and I crazily found myself replying: "I'll be back", knowing one day I will return.

FACTFILE

KLM is running The Old Masters Package on selected weekends until November 30. It includes free transport from Amsterdam Airport Schiphol direct to the Rijksmuseum, Amsterdam, with 20 per cent discount on entry and a free guided tour of the museum, as well as ten per cent discount in the museum shop. Flights from Newcastle to Amsterdam start at £78, including taxes. For further information on the package log onto www.klmuk.com or book call 08705 074 074 and quote Old Masters Package.

We were the guests of the Westin in Rotterdam. Weekend rates for a double room (bed and breakfast) are from 170 euros, plus five per cent city tax.