The theme of the prodigal son in the paintings of Rembrandt: the greatest evolution of the life and work of the master

2024 Author: Richard Flannagan | [email protected]. Last modified: 2023-12-15 23:55

Rembrandt Harmenszoon van Rijn was the greatest artist not only of the Dutch Golden Age, but of all world art. Known as the "painter of light", Rembrandt used his unsurpassed technical skills, knowledge of human anatomy and faith to express deep emotions and timeless truths. The biblical plot of the prodigal son requires special attention, which reflects the artist's personal and creative transformations.

Biography

Born into a middle-class miller family in 1606, Rembrandt Harmenszoon van Rijn, like many others at the time, left his father's house and traveled to the big city (Amsterdam) to succeed. His talent and skills have served him well. The artist created amazingly realistic portraits of wealthy merchants, shipbuilders, local politicians and their families. Rembrandt secured an excellent reputation and significant income in the early years of his career.

At that time, biblical subjects were considered relevant to high art, but more importantly for Rembrandt, the Bible became for the master a tool for understanding and contemplating the human spirit. The parable of Christ about the prodigal son is a story from the Gospel of Luke 15:13: "After a few days, the younger son, having gathered everything, went to a far country and there he squandered his possessions, living dissolutely." The plot often inspired the artist throughout his life, especially in two paintings - "The Prodigal Son in a Tavern" (1637) and "The Return of the Prodigal Son" (1669). Two paintings - two starting points in the biography - two evolutions of the work and life of the master himself.

The prodigal son in the tavern

The first work "Prodigal Son in a Tavern" reflects the happiest time in the artist's life. The painting was painted in 1637, when Rembrandt was 31 years old, he just married a beautiful, wealthy young wife - Saskia. The left side of the canvas was presumably carved by the artist himself. There were depicted minor characters, and Rembrandt wanted to focus the observer's attention on the main theme. Exhibited at the Dresden Gallery (Germany).

Rembrandt portrayed himself in a self-portrait as a reveler and darling of fate in the midst of his creative fame, personal happiness and untold pleasures, with a glass in his hand and with his beloved woman. By the way, the heroine - Rembrandt's wife - Saskia. Rembrandt's prosperity, like the riotous image of the prodigal son from the Bible, did not last long. The artist lived lavishly and lavishly, assuming that the good times would last forever. But he was wrong. By the time work began on The Return of the Prodigal Son, Rembrandt had gone bankrupt. His beloved wife died, the former popularity disappeared and the artist was overtaken by poverty. A significant symbolic detail is a slate board on the wall, indicating that sooner or later you will have to pay for everything. This is a little hint from the artist to the audience, reminding that this story has a continuation.

The finale of Rembrandt's parable is the second version, written in 1669. And in her it is rather difficult to recognize a pale, emaciated, physically and morally broken person returning to his father. He left it in his youth, being a gambler, a reckless pleasure seeker who squandered his share of the inheritance to the last penny. The artist painted this work just a few months before his death.

The Return of the Prodigal Son

The last large painting by Rembrandt, The Return of the Prodigal Son, was painted in 1669. Now it is exhibited in the Hermitage. It is a monumental display of overwhelming love and forgiveness. The characters are depicted in full size. If you look at the picture, standing in front of it, you can really feel how the gentle embrace of the father embraces the viewer. From an intentionally dark background of rich browns and velvety blacks, three figures emerge, bathed in light. Rembrandt's calling card is an unknown light emanating from the depths. An arc of light extends from the feet of the prodigal son through his tattered clothes and shaved, bowed head, into his father's arms, illuminating his blind eyes in the finale. The next point of light is the face of the eldest son, who remained with his father - this is a prototype of conscience.

The most significant thing here is the feet of the prodigal son. They are wounded, naked, shod in the same frayed shoes and tell a whole story (revelry - mistakes - failure - defeat - remorse). The only thing that remains with him is a dagger on his belt (quite possibly a gift from his father, which he would never sell). The son rests on his father's chest, and there he finds mercy, acceptance, forgiveness and love. His head is shaved - this is a clue that he has sunk to the very bottom. He was a prisoner. The softness of the red dress of the father and the softness of his embrace are very palpable. The same red color echoes in the older brother's robes, linking the father and his eldest son. But instead of love, the older brother's face is full of contempt and condemnation. He stands aside, cruel and motionless. What happened to the main character? With his self-confidence and lovely expensive clothes? All that was futile slipped out of him like husks. At the cost of suffering and loss … the truth dawned on him.

In Holland, a Protestant country, where churches did not have painted altars, and large paintings on religious themes were rarely painted, Rembrandt voluntarily created a monumental masterpiece in which painting technique acquired a spiritual character. The artist, in the theme of the prodigal son, revealed the evolution of his life and work. He literally put himself before the Last Judgment. One can absolutely agree with a number of critics who called "The Return of the Prodigal Son" the greatest painting of all time.