In this article, we will examine with you the painting The Return of the Prodigal Son by Rembrandt, which is about a biblical parable. The painting “The Return of the Prodigal Son” with Dutch title “De terugkeer van de verloren zoon” by Rembrandt van Rijn is one of the most important paintings in Art History. This work showcases Rembrandt’s mastery. The spirituality and message of forgiveness in this painting are considered the pinnacle of Rembrandt’s art.
Before examining this work, let’s remember the personality of the painter. Rembrandt Harmenszoon van Rijn born on June 15 in 1606, in the Dutch Republic, now the Netherlands, was a Dutch Golden Age painter, printmaker and draughtsman. Rembrandt’s paintings span a broad spectrum of styles and subjects, from portraits and self-portraits to landscapes, genre scenes, historical scenes, biblical and mythological themes, as well as animal studies.
He lived in the Dutch Republic during one of the most intense periods of religious conflict. During this period, there were conflicts between the Catholic Church and the Protestant Churches. Even in Rembrandt’s own family, religious differences existed. His mother was Roman Catholic and his father belonged to the Reformed Church. In my observation, Rembrandt’s understanding of art was heavily influenced by these religious conflicts, both in his family and the country. It is possible to see these influences in many of Rembrandt’s paintings.
ANALYSIS OF THE RETURN OF THE PRODIGAL SON BY REMBRANDT
The painting shows six people standing in front of an arched door. The old man on the left is lovingly embracing a young man. The young man’s dagger is still on his waist, which is used to defend himself outside. When we look at these two men, as a first impression, we can assume that they are father and son.
On the right, a little further away is the old man’s eldest son. The eldest son, wearing a red cloak, holds a walking stick with his hands together. The older son looks at his younger brother with rejection and jealousy. It is not clear who the other three people in the painting are. However, there are various opinions about them. We can take a look at these ideas together later in this article.
The son in the painting is returning home with a sad face. He squandered the legacy of his father. He fell into poverty and despair. When the son realizes that even his father’s servants are in a better condition than him, he kneels before his father and begs for forgiveness. The repentant son begs to be a servant in his father’s house.
WHAT IS THE MEANING OF THE RETURN OF THE PRODIGAL SON BY REMBRANDT?
The Prodigal Son, also known as the Lost Son, is one of the best-known parables of Jesus. It appears only in the Gospel of Luke in the New Testament of the Bible. The parable tells how a father’s young son travels to distant lands and spends all his money. A famine ensues. Later, the prodigal son becomes impoverished and has to work as a swineherd.
Art historian H. W. Janson states that this painting may be Rembrandt’s most dynamic painting. In this painting, it is seen that the painter depicts the quietest, eternity-long moment. There is a sensitive and serene mood.
However, Rembrandt’s paintings generally seem to take a more moderate approach. In many of his paintings, he reveals a possible Christian faith. I think with this approach, his attitude towards the differences of opinion in his family is also felt. This approach is no exception to the prodigal son painting. The painting The Return of the Prodigal Son is only one of his paintings in which this approach is seen. Also, it seems to me that the reputation of this painting may have increased due to its proximity to the date of his death. Another reason why this work is so impressive is that the emotions conveyed may be very, very familiar to the viewers. In addition, in his own life story, the painter knows very well what it means to miss his children. Therefore, he is deeply influenced by the work.
WHAT DOES THE RETURN OF THE PRODIGAL SON SYMBOLIZE
Rembrandt scholar Rosenberg calls the painting “monumental”. Rosenberg interprets the Christian idea of mercy with extraordinary solemnity, as though this were his spiritual testament to the world. In Rosenberg’s view, the depiction of returning home symbolizes the darkness of enlightened human existence. It is seen those sinful and tired people take refuge in God’s mercy.
Some figures are not directly related to the Prodigal Son parable and appear in Rembrandt’s earlier paintings. The woman seen indistinctly in the upper left is probably the mother figure. In addition, the resident may be a consultant or tax collector because the clothes of this male figure suggest wealth and money. According to other views, the female figure here may not be the mother. It could also be a sister. It is also thought that both the figures with the mustache man sitting and the woman standing in the shadows and shadows at the back were servants.
Depiction of Christian Mercy with Extraordinary Seriousness
In my opinion, this painting is also a testament to the world by Rembrandt. The painter interprets Christian mercy with extraordinary seriousness. Along with other paintings made in the Baroque period, it stands out with its human sympathy.
There is a tremendously dark atmosphere of light in this painting. The torn clothes of the prodigal son and the old man’s mustard yellow dress painted in golden olive color stand out. The deep red color of his father’s cloak is a very intense dye. With his bald head and repulsive appearance, the prodigal son confronts his father after long journeys. His father’s features, his old hands, remind him of supreme goodness.
The father figure welcomes his son with compassion. His father’s hands symbolize both motherhood and fatherhood. The left hand appears larger, more masculine. He placed his hand on his son’s shoulder. The right hand is in a softer gesture. The elder brother figure standing on the right opposes the father’s compassion for his sinful son. His father said, “But it was appropriate to celebrate and be glad, for this, your brother, was dead, and is alive again. He was lost, and is found.” and reminds them of this biblical parable (Luke 15:32).
At its core, this painting by Rembrandt conveys a very important moral message. It is seen that God forgives sinners who seek forgiveness, and the father figure shows the importance of mercy. The prodigal son shows that sinners can always seek forgiveness from God and repent. The eldest son symbolizes a person who has not yet made too many mistakes and follows the commandments of God. At the same time, he struggles with the idea that God is willing to forgive within his own mind.
WHAT TECHNIQUES DID REMBRANDT VAN RIJN USE IN THE RETURN OF THE PRODIGAL SON?
As in the works of many painters in Art History, in The Return of the Prodigal Son of Rembrandt, technique and content are parallel and interconnected. As an art viewer, I think the triumph of love, goodness and philanthropy dominates the whole of this work. The return of this prodigal son, in which human wisdom and spiritual nobility come to the fore, is depicted in serenity. Dramatic depth is expressed in the painting, father and son figures. The painter’s sketchy brushstrokes hint at the Late Baroque style. These brushstrokes, in my opinion, emphasize and increase the intensity of emotion in the painting.
First of all, the medium used in the painting The Return of the Prodigal Son is an oil painting on canvas. In accordance with the characteristics of oil paint, it is seen that the light effect is given by using paint layers in the painting. Rembrandt used the effects of light and shadow to highlight important aspects of painting. The father and the prodigal son are seen in the picture in the brightest area. The eldest son is partially under the light. Other human figures are connected to dark ambient light.
In the painting, the father embracing his son is depicted with a somewhat pale face, somewhat hollow cheeks, and an expression that shows his years of concern for his missing son. In order to convey these expressions, the brown color tonality in Baroque paintings and the effects of light and shadow were used.
Also, I think if we talk so much about the atmospheric effects of light and shadow, their emphasis on ambiguity should also be mentioned. I think the use of light and shadow in the painting also reflects the uncertainty as to whether the elder son will show mercy or reject the younger son, as in the parable that Jesus tells.
ONE OF THE MOST IMPORTANT WORK BY REMBRANDT
This masterpiece once again demonstrates Rembrandt’s mastery and status among artists of all time in depicting biblical parables. Renowned art theorist Kenneth Clark considers this masterpiece among the most important paintings ever made.
During Rembrandt’s lifetime, it was pretty surprising that such paintings were made that made comments on the Protestant ethic. Because in this period, the idea of iconoclasm dominates. During this period, the Netherlands ceased to be a colony of Spain and the Catholic Church. Calvinist churches are dedicated to preaching and prayer. During this period, the desire to decorate places of worship almost disappeared. Therefore, the tendency toward smaller size images has also increased. Most Dutch realist painters turned to religious-themed still life paintings called “Vanitas“. Rembrandt, on the other hand, preferred to depict religious interpretations in a larger and more insightful style, as in this masterpiece.
Since this painting is one of the last masterpieces of the painter, it can be considered the last word and the last message he left to the world. In my opinion, this message is significantly meaningful today at a time of religious conflict and includes compassion, sympathy, and forgiveness.
This painting has been preserved for centuries and still meets the visitors today. The Return of the Prodigal Son (with Dutch title “De terugkeer van de verloren zoon“) by Rembrandt van Rijn, takes part in the collection of the Hermitage Museum in Saint Petersburg, Russian Federation.
REMBRANDT DEPICTED THE PARABLE OF THE PRODIGAL SON IN HIS OTHER WORKS
The parable of the prodigal son is a very common and typical religious theme both among Rembrandt’s works and during the so-called Dutch Golden Age. In this period, it is seen that religious paintings and portraits dominated the art market, and landscape paintings were not famous yet.
This masterpiece is considered among Rembrandt’s last paintings. It was probably completed in 1669, two years after Rembrandt’s death. Influenced by this biblical parable (Luke 15:32), Rembrandt made 1636 engravings as well as drawings and paintings on these themes.
This artwork is not the only one in which Rembrandt tells the parable of the prodigal son. Rembrandt painted The Prodigal Son in the Tavern or by other nomenclatures with The Prodigal Son in the Brothel or Rembrandt and Saskia in the Scene of the Prodigal Son in 1635 (Oil on canvas, 161 x 131 cm). This painting is currently housed in the Gemäldegalerie Alte Meister, Dresden. The collection of this art gallery usually consists of paintings by old masters such as Rembrandt.
A Closer Look at the The Prodigal Son in the Brothel
In this work, The Prodigal Son in the Brothel, Rembrandt modeled his self-portrait for the prodigal son figure and the portrait of his wife Saskia for the female figure next to the prodigal son. In the painting, Saskia is sitting on Rembrandt’s lap and they are both looking toward us. This double portrait about the prodigal son parable also offers an ironic look at the life of Rembrandt and Saskia. In my view, Rembrandt’s portrayal of himself as the prodigal son is nothing but self-criticism.
The pigment analysis of this painting shows Rembrandt’s choice of the usual Baroque pigments such as red ochre, lead-tin-yellow, madder lake and smalt and also his elaborate multilayer painting technique.
There are speculations that the left side of this painting may have been cut after it was made. According to rumors, he may have found other figures in the original artwork, or Rembrandt may have cut the canvas to increase the emphasis on the main theme.
References
Durham, John I. (2004). “The Biblical Rembrandt: Human Painter in a Landscape of Faith“. Mercer University Press. ISBN 978-0-86554-886-2.
Henri J. M. Nouwen. (1992). “The Return of the Prodigal Son: A Meditation on Fathers, Brothers, and Sons“. Doubleday Books. ISBN 978-0-385-41867-6.
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Rembrandt van Rijn. (https://www.rembrandt-van-rijn.com/return-of-the-prodigal-son/)
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