Rembrandt van Rijn was born on 15 July 1606 in Leiden, the Netherlands. He came from a large family where he was the ninth child. His father was a miller and made sure that Rembrandt received an excellent education. Rembrandt began attending Leiden University, but actually wanted to study art. He eventually left school to become an apprentice to the artist Jacob van Swanenburgh. He was also a pupil of the painter Pieter Lastman. The Frans Banning Cocq and Willem van Ruytenburch Company, known as the Night Watch, is a painting by Rembrandt that dates back to 1642. It is a company of the bourgeois militia of the Amsterdam Musketeers, controlled by Frans Banning Cocq, who leaves his weapons of a building. This painting is located in the New Rijksmuseum in Amsterdam, where the most popular work is exhibited. This painting represents the year of the death of Saskia, Rembrandt's first wife and darkens inexorably due to a poorly dried Judean bitumen primer, hence the improper name of Night given in the nineteenth century as it was a collective daytime portrait. This painting creates an overwhelming sense of movement and emotion using artistic tools and principles. This painting was a command supported by eighteen members of the Company whose names appear on the door hanging as the characters cross the shield. To create this painting Rembrandt received 1,600 forints (the annual salary of a worker at the time was around 250 forints). The patch was added after the delivery of the canvas, presumably at the request of the sponsors, by Rembrandt or one of his students. The preparatory work for the work seems to date back to 1639 for work that lasted almost four years. The canvas was intended to decorate the large hall on the first floor of the House of the Musketeers (home of...... middle of paper......, paper) on which the powder charge and the loading ball complement are pressed ; right behind van Ruytenburch's head, a militiaman or perhaps a child wearing a helmet adorned with oak leaves, takes a shot; we especially guess the gesture of the man in the background between the two officers; on the right, finally, an old militiaman's breath or on the lid basin to drop the excess priming powder, or to revive the fire of a burning end of the wick. By pulling down an illuminated, clearly visible on this character, the pelvis began to pulverize. On the bottom of the basin, a small hole - called a light - served to communicate the flame to the main load placed on the bottom of the barrel. I feel that this painting draws the audience's attention to two places. First of all to the two gentlemen in front and to the young lady because she is the most different from these gentlemen.