Rembrandt: “The Return of the Prodigal Son. Analysis of the painting "The Return of the Prodigal Son" by Rembrandt Text: Archpriest Seraphim Slobodskoy

According to the parable, one day the son, the youngest in the family, wanted to start an independent life and demanded his share of the inheritance. In fact, this symbolized that he wishes the father death, because the division of property occurs only after the death of the eldest in the family. The young man received what he asked for and left his father's house. Life beyond his means, the deteriorating economic situation in the country where he found himself, led to the fact that soon the young man squandered everything he had. He faced a choice - death or repentance: “How many mercenaries my father has in abundance with bread, but I am dying of hunger; I will get up, go to my father and say to him: Father! I have sinned against heaven and before you, and am no longer worthy to be called your son; accept me among your mercenaries. "

When the father met his son, he ordered to kill the best calf and arrange a party. At the same time, he utters a phrase sacramental for the whole of Christianity: "This my son was dead and came to life, was lost and was found." This is an allegory for the return of lost sinners to the bosom of the church.

The Prodigal Son in a Tavern, 1635. (Pinterest)

The eldest son, returning from the field work and learning why the holiday was started, was angry: “I have been serving you for so many years and have never violated your orders, but you never gave me a kid to have fun with my friends; but when this thy son, who squandered his property with harlots, came, you killed the fatted calf for him. " And although his father called him to mercy, from the parable we do not know what decision the eldest son makes.

Rembrandt allowed himself to deviate from the classical text. First, he portrayed his father as blind. The text does not directly stipulate whether the man was sighted or not, but from the fact that he saw his son from afar, it can be concluded that he still had no vision problems.

Secondly, Rembrandt's eldest son is present at the meeting - a tall man on the right. In the classic text, he comes when preparations are already underway in the house for the celebration of the return of the younger brother.

The Return of the Prodigal Son, 1666-1669. (Pinterest)

Third, the meeting itself is described differently. The delighted father runs out to meet his son and falls on his knees in front of him. In Rembrandt's work, we see a young man meekly standing on the ground, and his father, quietly placing his palms on his shoulders. Moreover, one palm looks like a soft, caressing, motherly, and the second - like a strong, holding, fatherly.

The eldest son keeps aloof. His hands are tightly clenched - you can see the inner struggle that takes place in him. Angry with his father, the eldest son must make a choice - to accept the younger brother or not.

In addition to the main characters, Rembrandt depicted other people on the canvas. Who they are, it is impossible to say for sure. It is possible that these are servants, with the help of whom the artist wanted to convey the pre-holiday bustle and light mood.

Context

The Return of the Prodigal Son is possibly Rembrandt's last painting. The work on it was preceded by a series of losses stretching for 25 years: from the death of the first, beloved wife of Saskia and all the children she gave birth to to almost complete ruin and the absence of customers.

The rich robes in which the heroes are depicted were part of the artist's collection. In the 17th century, Holland was the strongest economy in the world. The ships of her merchants seemed to be everywhere - even with Japan there was trade (Japan did not trade with anyone else at that time). Outlandish goods flocked to Dutch ports. The artist regularly walked there and bought unusual fabrics, jewelry, weapons. All this was then used in work. Even for self-portraits, Rembrandt dressed up in overseas and tried on new images.

Belshazzar's Feast, 1635. (Pinterest)

The fate of the artist

Rembrandt was born in Leiden in the family of a wealthy Dutchman who owned a mill. When the boy announced to his father that he intended to become an artist, he supported him - then in Holland it was prestigious and profitable to be an artist. People were ready to be malnourished, but did not skimp on paintings.

After studying for three years (which was enough to start his own business, as it was then believed) from his uncle, a professional artist, Rembrandt and a friend opened a workshop in Leiden. Although there were orders, they were rather monotonous and did not enthrall. The work began to boil after moving to Amsterdam. There he soon met Saskia van Eilenbürch, the daughter of Mayor Leeuwarden, and without hesitation he married.

Night Watch, 1642. (Pinterest)

Saskia was his muse, inspiration, light. He painted her portrait in various clothes and images. At the same time, she was from a wealthy family, which also allowed them to live in a big way. The latter circumstance irritated the relatives of Saskia - the classic Flemings, who could not bear an unbridled life beyond their means. They even filed a lawsuit against Rembrandt, accusing him of wastefulness, but the artist presented, as they would say today, a certificate of income and proved that the fees for him and his wife are enough for all the whims.

After the death of Saskia, Rembrandt fell into depression for some time, even stopped working. Possessing an already unpleasant character, he became completely merciless towards others - he was bitter, stubborn, self-willed and even rude. This is largely why contemporaries tried not to write anything about Rembrandt - bad is indecent, but good, apparently, did not exist.

Hendrickje Stoffels, 1655. (Pinterest)

Gradually, Rembrandt turned against himself almost everyone: customers, creditors, and other artists. A kind of conspiracy developed around him - he was almost purposefully driven to bankruptcy, forcing him to sell his entire collection for a pittance. Even the house went under the hammer. If it were not for the students who formed and helped the master buy simpler housing in the Jewish district, Rembrandt risked being left on the street.

Today we don't even know where the artist's remains are. He was buried in a beggar cemetery. In the funeral procession was only his daughter Cornelia from Hendrickje Stoffels, the third wife (not official, but, one might say, civil). After the death of Rembrandt, Cornelia got married and left for Indonesia. There, traces of her family are lost. As for the information about Rembrandt himself, in the last decades it has been collected literally bit by bit - during the artist's life, much was lost, not to mention the fact that no one purposefully led his life story.

Rembrandt painted his painting The Return of the Prodigal Son shortly before his death. Some connoisseurs of painting call this canvas the culmination of his work. But few people know that the well-known biblical story became a reflection of the real tragic events in the life of the master.

The biblical plot of the picture is known, perhaps, to everyone. The father had two sons. The elder helped his father with the household, and the younger demanded his part of the inheritance and went to indulge in all the vices of a riotous life. When the money ran out, the unlucky son was at the very bottom. He had to graze the pigs for a bowl of porridge, wander, beg for alms. As a result, he decided to return to his father's house and kneel before his parent. The father forgives his son.

It was this moment in the parable that the most famous painters chose for themselves. Rembrandt also depicted the scene of the prodigal son's arrival home. However, his work differs from the paintings of other painters.

If we compare the paintings of Rembrandt and other artists, then their striking contrast becomes visible. For example, Jan Steen, who was at one time much more popular than Rembrandt, has the same plot in the picture, but is made in a more optimistic manner. Servants blow the horn, lead the calf to be slaughtered, carry good clothes.

Almost the same is observed with the Spanish artist Murillo. A charming calf is immediately seen again, clothes on a tray, a joyful dog.

Rembrandt lacks all unnecessary attributes, he focused only on the emotions of the father and son. It would be more correct to say that the emotions on the face of the prodigal son are not visible, but his appearance and posture can say a lot. Torn clothes, worn out shoes, calluses on the feet - all this so deeply conveys the emotionality of the scene. And also love, the all-forgiving love of a father ...

The master wrote "The Return of the Prodigal Son" almost immediately after the terrible tragedy that befell him. His only son Titus was gone. He was the fruit of the love of Rembrandt and his beloved wife Saskia. Titus is the only surviving child in the family, the other three died in infancy.

The father, distraught with grief, was persistently visited by thoughts of suicide. Only the work on the painting "The Return of the Prodigal Son" helped to avoid it. Rembrandt seemed to have projected himself into the place of his father in the biblical story, who had the good fortune to hug his child.

At the peak of his popularity, Rembrandt made good money, only

The feeling of boundless joy and love captured the father entirely, in fact, he does not even hug his son, since he no longer has the strength and his hand for this ...

The feeling of boundless joy and love captured the father entirely, in fact, he does not even hug his son, since he no longer has the strength for this and his hands are not capable of hugging his son. He simply feels it, thereby forgiving and protecting. Art critic M. Alpatov considers the main character of the painting to be the father, and the prodigal son is just an excuse for the father to show his generosity. He even thinks that the painting could be called "The Father Forgiving the Prodigal Son."

Self-portrait by Rembrandt Harmes van Rijn (c. 1665)

From the book by Nadezhda Ionina "100 Great Pictures"

While working on the painting "The Night Watch", Rembrandt's beloved wife Saskia died. The relatives of the deceased began to pursue the artist with lawsuits over the inheritance, trying to snatch part of the dowry bequeathed to Rembrandt by Saskia. But not only relatives persecuted Rembrandt. He was always besieged by creditors who pounced on the great artist like a greedy pack. Anyway, Rembrandt was never surrounded by honors, was never in the center of general attention, did not sit in the forefront, not a single poet during Rembrandt's lifetime praised him. At official celebrations, on the days of big celebrations, he was forgotten. And he disliked and avoided those who neglected him. The usual and beloved company were shopkeepers, burghers, peasants, artisans - the most common people. He liked to visit port taverns, where sailors, junk dealers, wandering actors, petty thieves and their girlfriends had fun. He enjoyed sitting there for hours, observing the bustle and sometimes sketching interesting faces, which he then transferred to his canvases.

Now in the Amsterdam house, in which the great Rembrandt lived for more than 20 years, the Museum is located. And once this house was sold for debts. Rembrandt himself sat then at the court session with such an indifferent air, as if this case did not concern him at all. He did not hear the speech of the judge and the shouts of creditors. His thoughts were so far away from the meeting that he either could not answer one question or another of the judge, or his answers had no connection with the court case.

It was the turn of the artist's advocate van der Piet to speak. Slowly and expressively he outlined the state of affairs. Sensibly, prudently and diligently defending Rembrandt's behavior, he appealed to the human feelings of creditors and to the judge's sense of justice. He threw down convincing, caustic and passionate words: “Let those who, in the name of insignificant sums of money that do not threaten them with the slightest loss or misfortune, want to make Rembrandt a beggar, burn with shame! I, van der Peet, speak here not only as a lawyer for the debtor, I speak on behalf of all mankind, which wants to deflect the undeserved blows of fate from one of his great sons ... equal to Shakespeare! Think everyone who is here - we will be covered with burial mounds, we will disappear from the memory of descendants, and the name of Rembrandt will thunder over the world for centuries, and his shining works will be the pride of the whole earth! "...

Yes, Rembrandt's paintings, undoubtedly, are the pinnacle of Dutch painting, and in the work of the artist himself one of such peaks was the painting “The Return of the Prodigal Son”. He painted it in the last year of his life, when he was already old, poor, terminally ill and frail, lived in hunger and cold. And yet, in defiance of fate, he wrote, wrote and wrote in the country and city, which he glorified forever.

The Return of the Prodigal Son Rembrandt Harmenszoon van Rijn 1669

The theme for the painting was the famous gospel parable, which tells how, after long wanderings around the world, the prodigal son returned with unfulfilled hopes to his abandoned father. This story attracted many artists long before Rembrandt. The Renaissance masters saw the reconciliation of a father with a naughty son as a beautiful and entertaining sight. Thus, in a painting by the Venetian artist Bonifacio, the action takes place in front of a rich manor, in front of a crowded, discharged crowd. Dutch artists were attracted more by the ordeal that the rebellious son was subjected to in a foreign land (for example, the scene when a libertine rogue in a barnyard among pigs was ready to atone for his sins with a pious prayer).

For Rembrandt, the theme of the "prodigal son" was accompanied for many years of his life. He turned to this plot as early as 1636, when he was working on an etching of the same name. In his paintings on biblical and evangelical subjects, the artist rarely depicted scenes of passions or miracles, he was more attracted by stories about the everyday life of people, especially scenes from patriarchal family life. For the first time, the story of the prodigal son was presented by Rembrandt in an engraving in which he transferred the biblical plot to a Dutch setting and depicted his son as a bony, half-naked creature. A drawing in which the father energetically squeezes the shaggy head of his penitent son with his hand also dates back to this time: even in a moment of reconciliation, he wants to show his paternal authority.

Rembrandt returned to this topic many times, and over the years he presented it differently each time. In early versions, the son violently expresses his remorse and humility. In a series of later drawings, the emotional impulses of the father and son are not so exposed, the element of edification disappears. Subsequently, Rembrandt began to be interested in a kind of almost accidental meeting between an old man, a father and a son, in which the forces of human love and forgiveness were just about to be revealed. Sometimes it was a lonely old man sitting in a spacious room, before him his unlucky son knelt down. Sometimes it is an old man going out into the street, where an unexpected meeting awaits him; or his son comes up to him and squeezes him tightly in his arms.

After 30 years, the artist creates a less detailed, narrative composition in which the emphasis is shifted to the old man-father. The plot of the painting "The Return of the Prodigal Son" is not directly related to the previous sketches, but it was in it that Rembrandt put all his creative experience and perhaps the most important of life experience. Rembrandt thoughtfully read the biblical story, but he was not a simple illustrator who seeks to accurately reproduce the text. He so got used to the parable, as if he himself had witnessed what had happened, and this gave him the right to finish the unsaid.

Several people gathered in a small area in front of the house. A ragged beggar, in rags belted with a rope, with the shaved head of a convict, the prodigal son is kneeling and hiding his face on the old man's chest. Seized with shame and remorse, he, perhaps for the first time in many years, felt the warmth of a human embrace. And the father, bowing to the "tramp", with gentle tenderness presses him to himself. His senile, unsteady hands lie tenderly on his son's back. This minute in its psychological state is equal to eternity, before both of them pass the years they spent without each other and brought so much mental anguish. It seems that the suffering has already broken them so that the joy of meeting did not bring relief.

The meeting between father and son takes place, as it were, at the junction of two spaces: in the distance you can guess the porch and behind it the cozy father's house. In front of the picture, there is implied and invisibly present the boundless space of the paths traveled by the son, an alien world that turned out to be hostile to him. The figures of the father and son make up a closed group, under the influence of the feeling that gripped them, they seemed to merge into one. Towering over his kneeling son, the father touches him with soft movements of his hands. His face, hands, posture - everything speaks of peace and happiness, acquired after long years of painful waiting. The father's forehead seems to radiate light, and this is the brightest place in the picture. Nothing breaks the concentrated silence. Those present are watching the meeting between father and son with intense attention. Among them, a man in a red cloak standing on the right stands out, whose figure, as it were, connects the main characters with the people around them. The person standing behind is also watching closely. The gaze of his wide-open eyes suggests that he too was imbued with all the importance and seriousness of the moment. A woman standing at a distance is looking at the father and son with sincere sympathy. It is difficult to say who these people are. Perhaps Rembrandt did not strive for an individual characteristic of those present, since they serve only as an addition to the main group.

Rembrandt long and persistently searched for the figure of the prodigal son, already in the prototypes of numerous drawings and sketches the prodigal son is guessed. In the picture, he is almost the only hero in classical painting who completely turned his back on the audience. The young man traveled a lot, experienced a lot and experienced a lot: his head is covered with scabs, his shoes are worn out. One of them fell off his feet, and the viewer sees his calloused heel. He barely made it to his father’s doorway and knelt down exhausted. A rough shoe that fell from his foot speaks volumes about how long the path was covered, how humiliated he was. The viewer does not have the opportunity to see his face, but after the prodigal son, he, as it were, enters the picture and falls to his knees.

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 finest artists of all time and an excellent master in 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.

History reference

The religious iconoclasm that followed the liberation of Holland from the colonial yoke of Spain and the Catholic Church resulted in bare-walled churches designed for sermons and prayers. The Dutch authorities had not the slightest desire to decorate altars and temples with frescoes, paintings or any other form of art. Instead, this country became known to the painting world thanks to paintings in the realism genre, including portraits and still lifes (especially in the Vanitas genre). All of these works contained various moralistic messages. Not surprisingly, the Dutch came to "Protestant art". It was such a Protestant artist that he became Rembrandt.

Although there was no longer any need for Christian and altarpiece art in Holland, with images of saints, archangels, martyrs, righteous ones, 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 the educated Rembrandt, with good knowledge of biblical subjects, has 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, shaved 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 an atonement for sins, referring to the ideas of forgiveness for sinners in Christianity. This image is extremely spiritual and free from all anecdotal aspects. The elder brother of the penitent, standing on the right, according to the primary source, reproached his father, since he himself served him for many years without breaking 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 earlier dealt with the theme of the prodigal son, 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 brilliant 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 that includes shades of ocher, gold, olive and scarlet tones create an extraordinary feeling of calm and tenderness.

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

2. Mythology (genre)

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

Figure: 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 remorse of his son. The young man is depicted kneeling in front of 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 legs went many roads. This is evidenced by worn-out shoes, they cannot even be called shoes - one shoe simply does not hold on to the foot. The son's face is hidden, the painter portrayed him so that the viewer himself guessed what feelings can be displayed on the young man's face.

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 entire posture 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 for his father is a great joy. The father looks at the kneeling lad and smiles. His face is serene and the old man is happy. Interior of the corner of the house: carved bas-reliefs, columns; the old man's robe: a red cloak and brocade sleeves in its slots - speak of the good prosperity of the house, the wealth and dignity of those gathered here.

The experts did not fully figure out the other four figures. The versions vary considerably. One of the assumptions is that a seated young man with a mustache and a dandy hat decorated 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.

Figure: Rembrandt. Return of the prodigal son. (Fragment)

The most distant figure is considered female - a barely discernible girl in a headscarf standing on the steps could have been a servant in the fatherly house. A man standing next to a repentant sinner holds a staff, he is wearing a cloak, he has a long beard, and a turban on his head. His whole appearance suggests that he can be the same wanderer, but smarter and more demanding in his goals. The gaze of this mute witness is directed to the young man kneeling before his father. What thoughts the wanderer's face is clouded with is anyone's guess.

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

4. Painting by Rembrandt "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 \u200b\u200bthe work. The plot of Rembrandt's painting is inspired by the Gospel parable. On the threshold of their home, father and son met, who returned after wandering around the world. Painting the rags of a wanderer, Rembrandt shows the hard path traveled by his son, as if telling it 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 successive weakening of light and shade and color contrasts, starting from the foreground. In fact, it is built by the figures of the witnesses of the scene of forgiveness, gradually dissolving in the twilight.

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

Golden Ratio (one-third) rule: 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.

Figure: Painting scheme

the return of the prodigal son rembrand

5. There is no active action, static, outwardly restrained characters, sometimes shrouded in the radiance of brocade clothes, emerge 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 within, like embers. Dense relief strokes, penetrated by the movement of a luminous mass of paint, are combined in shaded areas with transparent glazes painted in a thin layer. The texture of the colorful surface of the works of late Rembrandt seems to be a shimmering jewel. The exciting humanity of his images is marked with the seal of mysterious beauty.

6. The story of the prodigal son (Gospel of Luke 15: 11-32) worried the great Dutch artist of the 17th century. Rembrandt throughout his life. He created drawings, etching, a painting on the theme of the gospel parable. The artist comprehends the life of a carefree young man even in Self-portrait with Saskia on his knees (1635). At the end of his arduous life's journey, Rembrandt paints the monumental painting 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, who for many years did not remember his home and his father, who lived carelessly and idly. The old man-father meets the repentant and fallen to his knees son, hugging him to his chest. Bending his face over the infrequent, illuminated by light, the old man froze, radiating the kindness and warmth of all-forgiving love. The fiery red and golden ocher color in the cloak of the old man and the rags of the young man sound like a triumphant chord. Merged into one, father and son are in the life-giving environment of the golden brown Rembrandt chiaroscuro. The witnesses of the scene froze in the twilight. 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 everyone's heart: "And about that we must rejoice that this son was dead and came to life; he was lost and was found."

7. Yes, undoubtedly, 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, terminally ill and weak, he lived 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 the painting "The Return of the Prodigal Son" was the famous 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 draw attention to the fact that the left hand has an emphatically masculine outline, while the right one looks more like a woman's hand (it almost repeats, for example, the line of the hand of the main character of the painting "The Jewish Bride" kept 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 a 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, engraving in Greek, Hebrew and Latin says "God." An X-ray of the Hermitage canvass showed the initial resemblance of Rembrandt's painting to the details of the above-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 until the prodigal son leaves the house to meet adventures.

Rembrandt died at 63 in complete solitude, but he discovered painting as a path to the best of the worlds, to the world of the unity of the existence of image and thought.

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Context

The fate of the artist

History reference

Return of the prodigal son

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