On the plot of the New Testament parable of the prodigal son, exhibited in the Hermitage.

The painting depicts the final episode of the parable, when the prodigal son returns home, “and while he was still far away, his father saw him and took pity; and, running, fell on his neck and kissed him, ”and his elder righteous brother, who remained with his father, became angry and did not want to enter.

The plot attracted the attention of Rembrandt's famous predecessors: Dürer, Bosch, Luke of Leiden, Rubens.

This is the largest painting by Rembrandt on a religious theme.

Several people gathered in a small area in front of the house. On the left side of the picture, a kneeling prodigal son is depicted with his back to the viewer. His face is not visible, the head is written in profil perdu. The father gently touches his son's shoulders, embracing him. The picture is a classic example of a composition where the main thing is strongly shifted from the central axis of the picture for the most accurate disclosure of the main idea of ​​the work. “Rembrandt highlights the main thing in the picture with light, focusing our attention on it. The compositional center is located almost at the edge of the picture. The artist balances the composition with the figure of the eldest son standing on the right. Placing the main semantic center at one third of the distance in height corresponds to the law of the golden section, which since ancient times has been used by artists to achieve the greatest expressiveness of their creations.

Shaved like a convict, the head of the prodigal son and his shabby clothes testify to the fall. The collar keeps a hint of former luxury. The shoes are worn out, and a touching detail - one fell when the son knelt down. In the depths, a porch is guessed and behind it the father's house. The master placed the main figures at the junction of pictorial and real spaces (later the canvas was placed at the bottom, but according to the author's intention, its lower edge passed at the level of the kneeling son's toes). “The depth of space is conveyed by a consistent weakening of light and shade and color contrasts, starting from the foreground. In fact, it is built by the figures of witnesses to the scene of forgiveness, gradually dissolving in the twilight. “We have a decentralized composition with the main group (event node) on the left and a caesura separating it from the group of event witnesses on the right. The event causes the participants in the scene to react differently. The plot is built according to the compositional scheme “response”.

In addition to the father and son, 4 more characters are depicted in the picture. These are dark silhouettes that are hardly distinguishable against a dark background, but who they are remains a mystery. Some called them "brothers and sisters" of the protagonist. It is characteristic that Rembrandt avoids conflict: the parable speaks of the jealousy of an obedient son, and the harmony of the picture is not broken in any way.

Hermitage employee Irina Linnik believes that Rembrandt's painting has a prototype in the woodcut by Cornelis Antonissen (1541), in which the kneeling son and father are also depicted surrounded by figures. But on the engraving these figures are inscribed - Faith, Hope, Love, Repentance and Truth. In the heavens, an engraving in Greek, Hebrew and Latin says "God". The X-ray of the Hermitage canvas showed the initial similarity of the Rembrandt painting with the details of the mentioned engraving. However, a direct analogy cannot be drawn - the painting has only a vague resemblance to one of Antonissen's allegories (the farthest and almost disappearing in the dark), which resembles an allegory of Love, and, in addition, has a red heart-shaped medallion. Perhaps this is an image of the mother of the prodigal son.

The two figures in the background, located in the center (apparently female, possibly a servant or another personified allegory; and male), are more difficult to guess. A seated young man with a mustache, if you follow the plot of the parable, may be a second, obedient brother. There is speculation that the second brother is actually the previous "female" figure hugging the column. And, perhaps, this is not just a column - in shape it resembles a pillar of the Jerusalem temple and can well symbolize a pillar of the Law, and the fact that a righteous brother is hiding behind it acquires a symbolic sound.

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Date of creation: 1666–1669.
Type: canvas, oil.
Location: Hermitage, St. Petersburg.

This masterpiece of biblical art once again confirms Rembrandt's status as one of the best artists of all time and an excellent master of depicting religious subjects. Completed in the last years of the author's life, the painting depicts a scene from a parable told in the Gospel of Luke, according to the plot of which, the father (personifying the Lord) forgives all the sins of his prodigal son.

Historical reference

The religious iconoclasm that followed the liberation of Holland from the colonial yoke of Spain and the Catholic Church resulted in churches with bare walls, intended for sermons and prayers. The Dutch authorities had no desire to decorate altars and temples with frescoes, paintings, or any other form of art. Instead, the country became known to the painting world for its realist paintings, including portraits and still lifes (especially the Vanitas genre). All of these works contained various moralistic messages. It is not surprising that the Dutch came to "Protestant art". It was such a Protestant artist that he became Rembrandt.

Although in Holland there was no longer any need for Christian and altarpiece art, with images of saints, archangels, martyrs, righteous people, like the works of the Flemish master Peter Paul Rubens, the audience was still interested in themes from the Old Testament, full of dramatic events and educated Rembrandt, with good knowledge of biblical subjects, repeatedly created works based on the stories from this book.

Return of the prodigal son

One of the last paintings of the master does not contain his characteristic dynamism. Like the Old Testament patriarch, the father puts his hands on the shoulders of the penitent, shaven and dressed in shabby clothes. His gestures are accompanied by silence, his eyes are half closed. The act of forgiveness becomes both a blessing and atonement for sins, referring to the ideas of forgiveness of sinners in Christianity. This image is extremely soulful, and spared from all anecdotal aspects. The elder brother of the penitent, standing on the right, according to the original source, reproached his father, since he himself served him for many years without violating the commandments, while the prodigal son wasted money and behaved inappropriately, but Rembrandt left this conversation aside, immersing the action into complete silence. Rembrandt had dealt with the theme of the prodigal son before, as an engraver, and also created sketches and drawings, but in this monumental version one can see the most touching and psychologically complex confrontation between the brothers. The ingenious Rembrandt perfectly reflects the sincerity of the prodigal son, as well as the feelings of a loving and gracious father. A warm and harmonious color palette, including shades of ocher, gold, olive and scarlet tones, creates an extraordinary feeling of calm and tenderness.

The 17th century is known not only for the end of the Inquisition, but also for the fact that the plot of the biblical parable of the prodigal son became popular. The young man, who took his part of the inheritance and his father, went to travel. It all came down to drunkenness and revelry, and later the young man got a job as a swineherd. After long ordeals and hardships, he returned home, and his father accepted him and burst into tears ...

Artists of that time began to actively exploit the image of the unlucky son, depicting him either playing cards or indulging in pleasures with beautiful ladies. It was an allusion to the frailty and insignificance of the pleasures of the sinful world.

Then Rembrandt Harmenszoon van Rijn appeared and in 1668-1669 he created a canvas that was so different from the generally accepted canons. In order to understand and reveal the deepest meaning of this plot, the artist went through a difficult life path - he lost all his loved ones, saw fame and fortune, sorrow and poverty.

"The Return of the Prodigal Son" is a sorrow for lost youth, regret that it is impossible to return the lost days and food for the minds of many historians and art critics.

Look at the canvas itself - it is gloomy, but filled with a special light from somewhere in the depths and demonstrates the area in front of a rich house. The whole family has gathered here, the blind father hugs his son, who is on his knees. This is the whole plot, but the canvas is special, at least in its compositional techniques.

The canvas is rich in special inner beauty, it is outwardly ugly and even angular. This is only the first impression, which is dispelled by a mysterious light that goes beyond the boundaries of darkness, capable of capturing the attention of any spectator and purifying his soul.

Rembrandt places the main figures not in the center, but somewhat shifted to the left side - this is how the main idea of ​​​​the picture is best revealed. The artist highlights the most important thing not with images and details, but with light that takes all the participants of the event to the edge of the canvas.

It is noteworthy that the eldest son in the right corner becomes the balance for such a compositional technique, and the whole picture is subject to the golden ratio. Artists used this law for the best depiction of all proportions. But Rembrandt turned out to be special in this regard - he built the canvas based on figures that convey the depth of space and open a response scheme, that is, a reaction to an event.

The protagonist of the biblical parable is the prodigal son, whom the artist portrayed as a skinhead. In those days, only convicts were bald, so the young man fell to the lowest level of social strata. The collar of his suit is a nod to the luxury the young man once knew. The shoes are worn almost to the holes, and one fell off when he knelt - a rather touching and poignant moment.

The old man who hugs his son is painted in red robes worn by rich people and appears to be blind. Moreover, the biblical legend does not speak about this, and researchers believe that the whole picture is an image of the artist himself in different images that symbolize spiritual rebirth.

Rembrandt

The image of the youngest son is the image of the artist himself, who decided to repent of his misdeeds, and the earthly father and God, who will listen and, perhaps, forgive, this is the old man in red. The eldest son, reproachfully looking at his brother, is conscience, and the mother becomes a symbol of love.

There are 4 more figures in the picture that are hidden in the shadows. Their silhouettes are hidden in a dark space, and the researchers call the images brothers and sisters. The artist would have depicted them as relatives, if not for one detail: the parable tells of the jealousy of the older brother for the younger, but Rembrandt excludes it, using the psychological technique of family harmony. The figures mean faith, hope, love, repentance and truth.

It is also interesting that the master of the brush himself is not considered a pious person. He thought and enjoyed earthly life, possessing the thinking of the most ordinary person with all his fears and experiences. Most likely for this reason, The Return of the Prodigal Son is an illustration of the human path to self-knowledge, self-purification and spiritual growth.

In addition, the center of the picture is considered a reflection of the artist's inner world, his worldview. He is an aloof observer who wants to capture the essence of what is happening and involve the viewer in the world of human destinies and experiences.

The picture is a feeling of boundless joy of the family and fatherly protection. Perhaps, therefore, it is possible to call the main character the father, and not the prodigal son, who became the reason for the manifestation of generosity.

Take a closer look at this man - he seems older than time itself, and his blind eyes are inexplicable just like the young man's rags written in gold. The dominant position of the father in the picture is confirmed by both silent triumph and hidden splendor. It reflects compassion, forgiveness and love.

... Rembrandt died at 63. He was an old, poor, angry and sick old man. The notary quickly described his belongings: a pair of sweatshirts, a few handkerchiefs, a dozen berets, art supplies, and a Bible.

The man sighed and remembered that the artist was born in poverty. This peasant knew everything, and his life resembled the elements, shaking the soul along the waves of triumph and greatness, glory and wealth, true love and incredible debts, persecution, contempt, bankruptcy and poverty.

He survived the death of two women whom he loved, his students left him and society ridiculed him, but Rembrandt worked the same as in the heyday of his talent and fame. The artist still hatched the plot of the future canvas, picked up colors and chiaroscuro.

One of the greatest masters of the brush died all alone, but discovered painting as a path to the best of all worlds, as the unity of the existence of image and thought. His work of recent years is not only a reflection on the meanings of the biblical story about the prodigal son, but also the ability to accept oneself without anything and forgive oneself before seeking forgiveness from God or higher powers.

Canvas, oil.
Size: 260 × 203 cm

Description of the painting "The Return of the Prodigal Son" by Rembrandt

Painter: Rembrandt Harmenszoon van Rijn
Name of the painting: "The Return of the Prodigal Son"
The picture was painted: 1666-1669
Canvas, oil.
Size: 260 × 203 cm

The 17th century is known not only for the end of the Inquisition, but also for the fact that the plot of the biblical parable of the prodigal son became popular. The young man, who took his part of the inheritance and his father, went to travel. It all came down to drunkenness and revelry, and later the young man got a job as a swineherd. After long ordeals and hardships, he returned home, and his father received him and burst into tears.

Artists of that time began to actively exploit the image of the unlucky son, depicting him either playing cards or indulging in pleasures with beautiful ladies. It was an allusion to the frailty and insignificance of the pleasures of the sinful world. Then Rembrandt Harmenszoon van Rijn appeared and in 1668-1669 he created a canvas that was so different from the generally accepted canons. In order to understand and reveal the deepest meaning of this plot, the artist went through a difficult life path - he lost all his loved ones, saw fame and fortune, sorrow and poverty.

"The Return of the Prodigal Son" is a sorrow for lost youth, regret that it is impossible to return the lost days and food for the minds of many historians and art critics.

Look at the canvas itself - it is gloomy, but filled with a special light from somewhere in the depths and demonstrates the area in front of the rich house. The whole family has gathered here, the blind father hugs his son, who is on his knees. This is the whole plot, but the canvas is special, at least in its compositional techniques. The canvas is rich in special inner beauty, it is outwardly ugly and even angular. This is only the first impression, which is dispelled by a mysterious light that goes beyond the boundaries of darkness, capable of capturing the attention of any spectator and purifying his soul.

Rembrandt places the main figures not in the center, but somewhat shifted to the left side - this is how the main idea of ​​​​the picture is best revealed. The artist highlights the most important thing not with images and details, but with light that takes all the participants of the event to the edge of the canvas. It is noteworthy that the eldest son in the right corner becomes the balance for such a compositional technique, and the whole picture is subject to the golden ratio. Artists used this law for the best depiction of all proportions. But Rembrandt turned out to be special in this regard - he built the canvas based on figures that convey the depth of space and open a response scheme, that is, a reaction to an event.

The protagonist of the biblical parable is the prodigal son, whom the artist portrayed as a skinhead. In those days, only convicts were bald, so the young man fell to the lowest level of social strata. The collar of his suit is a nod to the luxury the young man once knew. The shoes are worn almost to the holes, and one fell off when he knelt - a rather touching and poignant moment.

The old man who hugs his son is painted in red robes worn by rich people and appears to be blind. Moreover, the biblical legend does not speak about this, and researchers believe that the whole picture is an image of the artist himself in different images that symbolize spiritual rebirth.

The image of the youngest son is the image of the artist himself, who decided to repent of his misdeeds, and the earthly father and God, who will listen and, perhaps, forgive, this is the old man in red. The eldest son, reproachfully looking at his brother, is conscience, and the mother becomes a symbol of love.

There are 4 more figures in the picture that are hidden in the shadows. Their silhouettes are hidden in a dark space, and the researchers call the images brothers and sisters. The artist would have depicted them as relatives, if not for one detail: the parable tells of the jealousy of the older brother for the younger, but Rembrandt excludes it, using the psychological technique of family harmony. The figures mean faith, hope, love, repentance and truth.

It is also interesting that the master of the brush himself is not considered a pious person. He thought and enjoyed earthly life, possessing the thinking of the most ordinary person with all his fears and experiences. Most likely for this reason, The Return of the Prodigal Son is an illustration of the human path to self-knowledge, self-purification and spiritual growth.

In addition, the center of the picture is considered a reflection of the artist's inner world, his worldview. He is an aloof observer who wants to capture the essence of what is happening and involve the viewer in the world of human destinies and experiences.

The picture is a feeling of boundless joy of the family and fatherly protection. Perhaps, therefore, it is possible to call the main character the father, and not the prodigal son, who became the reason for the manifestation of generosity. Take a closer look at this man - he seems older than time itself, and his blind eyes are inexplicable just like the young man's rags written in gold. The dominant position of the father in the picture is confirmed by both silent triumph and hidden splendor. It reflects compassion, forgiveness and love.

... Rembrandt died at 63. He was an old, poor, angry and sick old man. The notary quickly described his belongings: a pair of sweatshirts, a few handkerchiefs, a dozen berets, art supplies, and a Bible. The man sighed and remembered that the artist was born in poverty. This peasant knew everything, and his life resembled the elements, shaking the soul along the waves of triumph and greatness, glory and wealth, true love and incredible debts, persecution, contempt, bankruptcy and poverty.

He survived the death of two women whom he loved, his students left him and society ridiculed him, but Rembrandt worked the same as in the heyday of his talent and fame. The artist still hatched the plot of the future canvas, picked up colors and chiaroscuro.

One of the greatest masters of the brush died all alone, but discovered painting as a path to the best of all worlds, as the unity of the existence of image and thought. His work of recent years is not only a reflection on the meanings of the biblical story about the prodigal son, but also the ability to accept oneself without anything and forgive oneself before seeking forgiveness from God or higher powers.

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1. The painting "The Return of the Prodigal Son" was painted around 1668-1669. Dutch painter Rembrandt Harmenszoon van Rijn. Now it is kept in the Hermitage. The size of the painting is 262 x 205 cm, oil on canvas.

2. Mythology (genre)

3. The plot for the picture was the last part of the parable from the Bible, which tells about a lost son who eventually comes to his native threshold and repents before his father. The parent is glad to see a living and unlucky younger offspring, hugs him like a father, and the older brother is angry and does not fit.

Rice. 1 Rembrandt. Return of the prodigal son

It was this imaginary scene that lay on the canvas. The master perfectly conveyed the fatherly feelings and repentance of his son. The young man is depicted kneeling before his parent, pressing his shaved head against his father's body. His clothes are dirty and torn, they bear traces of their former splendor and luxury, but it is clear that the young man fell to the very bottom of human sins and could not rise from there. His feet traveled many paths. This is evidenced by worn-out shoes, they can no longer be called shoes - one shoe simply does not rest on the foot. The face of the son is hidden, the painter depicted him in such a way that the viewer himself guessed what feelings could be displayed on the face of a young man.

The main figure of the work is the father. His figure is slightly inclined towards his son, with his hands he gently squeezes his son's shoulders, his head is slightly tilted to the left. The whole pose of this old man speaks of the suffering and grief that he experienced all those years while his son was absent from the house. With these movements, he seems to forgive his son, his return to his father is a great joy. The father looks at the kneeling boy and smiles. His face is serene and the old man is happy. Interior corner of the house: carved bas-reliefs, columns; the old man's attire: a red cloak and brocade sleeves in its slits - speak of the good prosperity of the house, the wealth and dignity of those gathered here.

With the remaining four figures, the experts did not figure it out to the end. Versions vary greatly. One of the assumptions is that the seated young man with a mustache and a smart hat adorned with a feather is the elder brother of the prodigal. Perhaps so, since his facial expression speaks of condemnation and he does not participate in the reconciliation of relatives.

Rice. Rembrandt. The return of the prodigal son. (Fragment)

The most distant figure is considered female - a barely visible girl in a headscarf standing on the steps could be a servant in her father's house. A man standing next to a penitent is holding a staff, he is wearing a cloak, he has a long beard, and a turban is on his head. His whole appearance suggests that he can be the same wanderer, but more intelligent and demanding for his own purposes. The gaze of this mute witness is fixed on the young man kneeling before his father. What thoughts darken the wanderer's face, one can only guess.

The entire canvas is written in Rembrandt's favorite reddish-brown tones. The artist was able to skillfully display the light accents on the faces of the people depicted and muffle the secondary characters. Even without knowing what is written in the biblical parable, having seen this great work, you can read everything on it.

4. Rembrandt's painting "The Return of the Prodigal Son" is a classic example of a composition where the main thing is strongly shifted from the center for the most accurate disclosure of the main idea of ​​​​the work. The plot of Rembrandt's painting was inspired by the gospel parable. On the threshold of their home, a father and son met, who returned after wandering around the world. Depicting the wanderer's rags, Rembrandt shows the hard path passed by his son, as if telling him in words. You can look at this back for a long time, sympathizing with the suffering of the lost. The depth of space is conveyed by the gradual weakening of light and shade and color contrasts, starting from the foreground. In fact, it is built by the figures of witnesses to the scene of forgiveness, gradually dissolving in the twilight.

The blind father put his hands on his son's shoulders as a token of forgiveness. In this gesture - all the wisdom of life, pain and longing for the years lived in anxiety and forgiveness. Rembrandt highlights the main thing in the picture with light, focusing our attention on it. The compositional center is located almost at the edge of the picture. The artist balances the composition with the figure of the eldest son standing on the right. Placing the main semantic center at one third of the distance in height corresponds to the law of the golden section, which since ancient times has been used by artists to achieve the greatest expressiveness of their creations.

Rule of the golden ratio (one third): The most important element of the image is located in accordance with the proportion of the golden ratio, that is, approximately 1/3 from the whole.

Rice. The scheme of the picture

return of the prodigal son rembrandt

5. There is no active action, static, externally restrained characters, sometimes shrouded in the glow of brocade clothes, protrude from the shaded space surrounding them. The dominant dark golden-brown tones subdue all colors, among which a special role belongs to shades of red burning from the inside, like smoldering coals. Dense relief strokes, permeated with the movement of a luminous mass of paint, are combined in shaded areas with transparent glazes written in a thin layer. The texture of the colorful surface of the works of the late Rembrandt seems to be a shimmering jewel. The exciting humanity of his images is marked by the seal of mysterious beauty.

6. The story of the prodigal son (Gospel of Luke, 15:11-32) excited the great Dutch artist of the 17th century. Rembrandt throughout his life. He created drawings, etching, a picture on the theme of the gospel parable. The artist comprehends the life path of a carefree young man even in "Self-portrait with Saskia on his knees" (1635). At the end of a difficult life journey, Rembrandt paints the monumental canvas "The Return of the Prodigal Son", in which he most fully expresses his ideas about eternal human values. A son returns to his father's house, for many years he did not remember his home and his father, who lived carelessly and idlely. The old father meets his repentant and kneeling son, pressing him to his chest. Bowing his face, illuminated by light, over the unprivate, the old man froze, radiating kindness and warmth of all-forgiving love. The fiery red and golden ocher color in the old man's cloak and the young man's rags sound like a triumphant chord. Merged together, father and son are in the life-giving environment of Rembrandt's golden-brown chiaroscuro. The bystanders of the scene froze in the semi-darkness. Rembrandt's chiaroscuro becomes the equivalent of a person's spiritual energy, his love and compassion, forgiveness and repentance. The gospel parable in the understanding and implementation of Rembrandt is eternal, it is addressed to the heart of everyone: "And we must rejoice in that, that this son was dead and came to life; he was lost and was found."

7. Yes, there is no doubt that Rembrandt's paintings are the pinnacle of Dutch painting. A special place in it is occupied by his painting "The Return of the Prodigal Son" (c. 1666-69). Rembrandt wrote it in the last year of his life, when he was already old, poor, mortally ill and infirm, living in hunger and cold. And yet, in defiance of fate, he wrote and wrote in the country and city, which he glorified forever.

The theme for writing the canvas "The Return of the Prodigal Son" was the well-known gospel parable, which tells how, after long wanderings in an uncomfortable world, the prodigal son returned with unfulfilled hopes to his abandoned father.

Researchers like to pay attention to the fact that the left hand has an emphatically masculine outline, while the right hand looks more like a woman’s hand (it almost repeats, for example, the line of the main character’s hand in the painting “The Jewish Bride” stored in the Amsterdam Riksmuseum).

Perhaps in this way Rembrandt symbolizes the return to his father's house, where both mother and father are waiting for their son.

Hermitage employee Irina Linnik believes that Rembrandt's painting has a prototype in the woodcut by Cornelis Antonissen (1541), on which the kneeling son and father are also depicted surrounded by figures. But on the engraving these figures are inscribed - Faith, Hope, Love, Repentance and Truth. In the heavens, an engraving in Greek, Hebrew and Latin says "God". The X-ray of the Hermitage canvas showed the initial similarity of the Rembrandt painting with the details of the mentioned engraving.

There is also a version that the two figures on the right side of the picture, a young man in a beret and a standing man, are the same father and son, but only before the prodigal son leaves home for adventure.

Rembrandt died at the age of 63 all alone, but opened painting as a way to the best of all worlds, to the world of the unity of the existence of image and thought.

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