Rembrandt van Rijn was born on July 15, 1606 in Leiden, the Netherlands. He came from a large family of which he was the ninth child. His father was a miller and ensured that Rembrandt received an excellent education. Rembrandt began attending Leiden University, but really wanted to study art. Eventually he left school to apprentice under the artist Jacob van Swanenburgh. He was also a student of the painter Pieter Lastman. The Company of Frans Banning Cocq and Willem van Ruytenburch, known as The Night Watch, is a painting by Rembrandt dating from 1642. It is a company of the bourgeois militia of the Amsterdam Musketeers, controlled by Frans Banning Cocq, taking weapons out of a building. This painting is in the New Rijksmuseum in Amsterdam, where the most popular work is exhibited. This painting dates from the death of Saskia, Rembrandt's first wife and inexorably darkens due to a poorly dried Judean bitumen primer, hence the abusive term Night given in the 19th century because it is a collective daytime portrait. This painting creates an overwhelming sensation of movement and emotion using artistic tools and principles. This painting was a commission supported by eighteen members of the Company whose names appear on the door hanging as the figures pass through the shield. Rembrandt received 1,600 florins to create this painting (the annual salary of a worker was then around 250 florins). The patch was added after delivery of the painting, at the request, presumably, of sponsors, Rembrandt or one of his students. The preparatory work for the works appears to date from 1639 for work which lasted almost four years. The canvas was intended to decorate the large room on the first floor of the House of Musketeers (the headquarters of...... middle of paper......, paper) on which to pack the powder charge and the complement bullet loading; just behind van Ruytenburch's head, a militiaman or perhaps a child wearing a helmet decorated with oak leaves, takes a photo; we can especially guess the gesture of the man in the background between the two officers; on the right, finally, an old militiaman blows either on the basin of the lid to let the excess priming powder fall, or to rekindle the fire of an incandescent end of the fuse. By lowering a luminous pool, clearly visible on this character, the pool began to finely powder. At the bottom of the basin, a small hole - called light - was used to communicate the flame to the main charge located at the bottom of the barrel. I feel like this painting draws the audience's attention to two places. First of all to the two gentlemen in front as well as to the young lady because she is the most different of these gentlemen.