Love Art After Dark was, in equal measures, surreal and fantastic.

For one night only, the Fitzwilliam Museum was filled with students from far and wide to appreciate its phenomenal collection and enjoy the luxuries of a unique evening. The gallery was miraculously transformed from its tourist-ridden, daytime state into a dynamic, enchanting venue that played host to unique talks, events and opportunities, unmatched even within Cambridge.

The serene atmosphere of the exclusive, members-only champagne reception soon faltered and gave way once the masses descended. The crowds were far larger than I had ever expected, filling galleries to their rafters.

The various events that were dispersed throughout the night were diverse and compelling. Tim Knox, the director of the museum, gave a fascinating talk on the artworks that line the walls of the Italian collation, from Titian to Il Guercino. He focused on the morbid nature of many of the works, picking out pieces such as Salvator Rosa’s intriguing L’Umana Fragilita, an allegory exploring the frailty of human existence. The whole talk magnificently dispelled the myth that art is entirely about beauty, instead focussing on how it often very effectively assesses the more morose aspects of life. Discussions in the ground floor galleries regarding ancient glass and architectural sculpture gave attention to the often-ignored antiquities that fill the lower rooms, from Roman busts to Egyptian sarcophagi.

It was the little details, though, that made the night as special as it was. Somehow, the fact that coloured tokens had to be exchanged for the complimentary refreshments at tactically positioned bars around the museum gave even drinking a unique quality. A workshop in which one could make a cheeky Valentine’s card for a special someone exemplified the subtle, yet omnipresent, aura of love in the air; it was clear that Valentine’s Day was only forty-eight hours away, and a few slightly awkward RAG blind dates were clearly making their way around the rooms.

However, the cherry on top of the cake had to be the two sessions of life-drawing in one of the more modern galleries. The juxtaposition of a life model with Stanley Spencer’s evocative nudes was a master stroke, drawing large queues despite the other fascinating opportunities occurring elsewhere. A fine example was most certainly the selection of caricatures and cartoons on display in the often-unseen Graham Robertson Room, perfectly contrasted with the stark Spanish and Flemish art in the neighbouring gallery.

Overall, I’m sad it had to come to a close. It simply seemed too short. When a voice came over the speaker system commanding us to exit, a wave of sadness swept over me. It was a truly fabulous and magical night in an unparalleled venue that I wished would never end.