Based on 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 had compassion; 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: Durer, Bosch, Luke of Leiden, Rubens.

Exactly this large canvas Rembrandt on religious theme.

Several people gathered on 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, his head is written in profil perdu. The father gently touches his son's shoulders, hugging him. Painting - classic example compositions 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 his 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 ratio, which artists have used since ancient times to achieve the greatest expressiveness of their creations.”

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

In addition to father and son, the picture depicts 4 more characters. These are dark silhouettes that are difficult to distinguish against a dark background, but who they are remains a mystery. Some called them the protagonist's "brothers and sisters." It is characteristic that Rembrandt avoids conflict: the parable talks about jealousy obedient son, and the harmony of the picture is not disturbed in any way.

Hermitage employee Irina Linnik believes that Rembrandt’s canvas has a prototype in a woodcut by Cornelis Antonissen (1541), in which a 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, the engraving reads "God" in Greek, Hebrew and Latin. An X-ray of the Hermitage painting showed the initial similarity of Rembrandt’s painting with the details of the mentioned engraving. However, a direct analogy cannot be drawn - the picture has only a vague resemblance to one of Antonissen’s allegories (the farthest and almost disappearing in the darkness), which resembles an allegory of Love, and, in addition, has a red medallion in the shape of a heart. Perhaps this is an image of the mother of the prodigal son.

The two figures in the background, located in the center (apparently female, perhaps a maid or another personified allegory; and male), are more difficult to guess. The sitting young man with a mustache, if you follow the plot of the parable, may be the second, obedient brother. There is speculation that in fact the second brother is the previous “female” figure hugging the column. Moreover, perhaps this is not just a column - in shape it resembles the pillar of the Jerusalem Temple and may well symbolize the pillar of the Law, and the fact that the righteous brother is hiding behind it takes on a symbolic meaning.

This is part of a Wikipedia article used under the CC-BY-SA license. Full text articles here →

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 litigation over the inheritance, trying to snatch part of the dowry bequeathed to Rembrandt by Saskia.

Return of the Prodigal Son, 1669. Oil on canvas, 262x206.
State Hermitage Museum, Saint Petersburg

But it was not only relatives who persecuted Rembrandt. He was always besieged by creditors, who attacked the great artist like a greedy pack. And in general, Rembrandt was never surrounded by honors, was never the center of general attention, did not sit in the front row, not a single poet during Rembrandt’s lifetime sang his praises. At official celebrations, on days of great celebrations, they forgot about him. And he did not love and avoided those who neglected him. His usual and beloved company consisted of shopkeepers, townspeople, peasants, artisans - the simplest people. He loved to visit the port taverns, where sailors, ragpickers, traveling actors, petty thieves and their girlfriends had fun. He happily sat there for hours, watching the bustle and sometimes sketching interesting faces, which he later transferred to his canvases.

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

It was the turn of van der Piet, the artist’s lawyer, to speak. Slowly and expressively he outlined the state of affairs. Intelligently, cautiously and zealously defending Rembrandt's behavior, he appealed to human feelings creditors and to the judge's sense of fairness. He threw out convincing, caustic and passionate words: “Let those who, in the name of insignificant sums of money, who do not threaten them with the slightest loss or misfortune, want to make Rembrandt a beggar/ I, van der Piet, speak here not only as the debtor’s lawyer, I speak on behalf of all humanity, which wants to ward off 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 our descendants, and the name of Rembrandt will thunder over the world for centuries to come, and his shining works will be the pride of the whole earth!”...

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

The theme for the painting was the famous gospel parable, which tells how, after long wanderings in an uncomfortable world, the prodigal son returned with unfulfilled hopes to the father he had abandoned. This story attracted many artists long before Rembrandt. The Renaissance masters saw the reconciliation of a father with a disobedient son as a beautiful and entertaining spectacle. Thus, in the painting by the Venetian artist Bonifacio, the action takes place in front of a rich estate, in front of a crowded, dressed-up crowd. Dutch artists They were more attracted to the trials that the rebellious son was subjected to in a foreign land (for example, the scene when a degenerate dissolute man in a barnyard among pigs was ready to atone for his sins with pious prayer).

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

Rembrandt returned to this theme many times, and over the years he presented it differently each time. In early versions, the son vigorously expresses his repentance and submission. In a series of later drawings, the spiritual impulses of father and son are not so naked, the element of edification disappears. Subsequently, Rembrandt began to be fascinated by the almost accidental meeting of an old father and son, in which the forces human love and forgiveness is only just ready to open up. Sometimes it was a lonely old man sitting in a spacious room, his unlucky son kneeling before him. 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 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 thing from life experience.

Rembrandt thoughtfully read the biblical story, but he was not a simple illustrator who strives to accurately reproduce the text. He got used to the parable as if he himself had witnessed what had happened, and this gave him the right to complete what was unsaid.

Several people gathered on a small area in front of the house. Tattered, beggarly, in rags belted with rope, with a convict’s shaved head, the prodigal son stands on his knees and hides his face on the old man’s chest. Overwhelmed by shame and remorse, he, perhaps for the first time in many years, felt the warmth of a human embrace. And the father, bending over to the “tramp,” presses him to himself with careful tenderness. His senile, unsteady hands lie tenderly on his son’s back. This minute in its own way psychological state equal to eternity, before both of them pass the years they spent without each other and brought so much mental anguish. It seems that suffering has already broken them so much that the joy of meeting did not bring relief.

The meeting of father and son takes place as if at the junction of two spaces: in the distance one can discern a porch and behind it a cozy father’s house. In front of the picture there is implied and invisibly present the boundless space of roads traveled by the son, an alien world that turned out to be hostile to him.

The figures of father and son form a closed group; under the influence of the feelings that gripped them, they seemed to merge into one. Towering over his kneeling son, the father touches him with soft hand movements. His face, hands, posture - everything speaks of peace and happiness found after for long years 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 watch the meeting between father and son with intense attention. Among them stands out the man standing on the right in a red cloak, whose figure seems to connect the main characters with the people around them.

The person standing behind is also closely watching what is happening. His gaze is wide open eyes suggests that he, too, was imbued with the importance and seriousness of the moment. A woman standing at a distance looks at the father and son with sincere sympathy. It's hard to say who these people are. Perhaps Rembrandt did not strive for individual characteristics present, since they serve only as an addition to the main group.

Rembrandt searched for a long time and persistently for the figure of the prodigal son; the prodigal son is already visible in the prototypes of numerous drawings and sketches. In the picture he is almost the only one in classical painting a hero who has completely turned his back on the audience. The young man traveled a lot, experienced and experienced a lot: his head is covered with scabs, his shoes are worn out. One of them falls off his foot, and the viewer sees his hardened heel. He barely reached the threshold of his father's house and fell to his knees in exhaustion. A rough shoe falling off his foot speaks eloquently of how long the path had been traveled and what humiliations he had been subjected to. The viewer does not have the opportunity to see his face, but following the prodigal son, he also seems to enter the picture and falls to his knees.

A mysterious light pours from the depths of the gloomy canvas. It gently envelops the figure of a blind father who stepped out of the darkness towards his son. Those around him seemed frozen in anticipation of words of forgiveness, but there were no words... The old father, indeed, gives the impression of being blind, although the parable says nothing about his blindness. But she apparently seemed to Rembrandt to be something more capable of vividly depicting the excitement of a touched heart.

A 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 to do this and his hands are not capable of hugging his son to himself. He simply feels him, thereby forgiving and protecting him.

Art critic M. Alpatov considers the father to be the main character of the painting, and the prodigal son is only an excuse for the father to show his generosity. He even believes that the painting could be called “The Father Forgiving the Prodigal Son.”

Anyone who appreciates mainly external beauty will probably find a lot of ugly and angular things in this painting by Rembrandt. But the mysterious effect of light, intensified by the far-reaching darkness, captivates any viewer, and the harmony of wonderful shades of colors affects his soul like the melodies of ancient church hymns.

“One Hundred Great Paintings” by N. A. Ionin, Veche Publishing House, 2002

nearyou.ru

Rembrandt Harmens van Rijn(1606-1669) - Dutch artist, painter and engraver, great master of chiaroscuro, largest representative golden age of Dutch painting. He managed to embody in his works the entire spectrum of human experiences with such emotional richness that fine art had never known before.

Canvas, oil.
Size: 260 × 203 cm

Description of the painting “The Return of the Prodigal Son” by Rembrandt

Artist: Rembrandt Harmens van Rijn
Title of the painting: “Return of the Prodigal Son”
The painting 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 boiled down to drunkenness and revelry, and subsequently the young man found work as a swineherd. After much ordeal and hardship, 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 a hint at the frailty and insignificance of the pleasures of the sinful world. Then Rembrandt Harmens van Rijn appeared and in 1668-1669 created a canvas that was so different from the generally accepted canons. To understand and reveal deepest meaning this plot, the artist went through a difficult life path– he lost all his loved ones, saw fame and wealth, sorrow and poverty.

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

Look at the canvas itself - it’s gloomy, but filled special light from somewhere deep and demonstrates the platform in front of a rich house. The whole family has gathered here, a blind father hugs his son, who is kneeling. 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 dispels a mysterious light that goes beyond the boundaries of darkness, capable of capturing the attention of any viewer and purifying his soul.

Rembrandt places the main figures not in the center, but slightly shifted to the left - this is how the main idea of ​​the painting is best revealed. The artist highlights the most important things not with images and details, but with light, which transports all participants in 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 subordinated to the golden ratio. Artists used this law to best image 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 reveal a response pattern, that is, a reaction to an event.

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

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

Image youngest son- this 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, looking reproachfully 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 researchers call the images brothers and sisters. The artist would have depicted them as relatives, if not for one detail: the parable tells about the jealousy of the older brother towards the younger, but Rembrandt excludes it by using psychological technique family harmony. The figures mean faith, hope, love, repentance and truth.

It’s also interesting that I don’t consider the master of the brush himself to be a pious person. He thought and enjoyed earthly life, possessing the thinking of himself ordinary person with all his fears and worries. Most likely for this reason, The Return of the Prodigal Son is an illustration of the human journey to self-knowledge, self-purification and spiritual growth.

In addition, the center of the picture is considered a reflection inner world the artist, his worldview. He is an observer standing on the sidelines who wants to capture the essence of what is happening and draw the viewer into the world human destinies and experiences.

The picture is a feeling of boundless joy of family and paternal protection. This is probably why we can call the father the main character, and not the prodigal son, who became the reason for the manifestation of generosity. Take a close look at this man - he seems older than time itself, and his blind eyes are as inexplicable as the young man’s rags painted 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 years old. He was an old, poor, angry and sick old man. The notary quickly listed his belongings: a pair of sweatshirts, several handkerchiefs, a dozen berets, painting supplies and a Bible. The man sighed and remembered that the artist was born in poverty. This peasant knew everything, and his life resembled an element, rocking his soul on the waves of triumph and greatness, fame and wealth, true love and incredible debts, bullying, contempt, bankruptcy and poverty.

He survived the death of two women whom he loved, he was abandoned by his students and ridiculed by society, but Rembrandt worked as he did at the height of his talent and fame. The artist was still hatching the plot of the future canvas, selecting colors and light and shade.

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

Rembrandt Harmens van Rijn died in October 1669. He was 63 years old. He was old, sick and poor. The notary did not have to spend much time compiling an inventory of the artist’s property. The inventory was brief: “three worn sweatshirts, eight handkerchiefs, ten berets, painting supplies, one Bible.”

The life of the peasant Rembrandt van Rijn, who was elevated above his origin by his genius, can be compared to the changeable sea ​​elements. There was triumph and grandeur, glory and wealth, real love and colossal debts, bullying, bankruptcy, contempt, poverty.

The fantastic technique, expressive and sharp language of the paintings captivated his contemporaries. Rembrandt is an innovator. It is no coincidence that he had many students, admirers, and even more envious people. His authority was unquestioned during the heyday of creativity and was reduced to nothing by the wild envy of his colleagues after the ruin of the Amsterdam painter. Of course, fickle fashion did not play a role here. last role. Many of his apprentices, having risen to their feet, turned away from Rembrandt and contemptuously called him “the old sorcerer” behind his back.

Lonely, having survived the death of two beloved women, a son and daughter-in-law dear to his heart, abandoned by his students, ridiculed by society, not remembering himself in the last year of his life, he is immersed in work just as at the time of his glory.

For Rembrandt, painting has always been a different, otherworldly world in which only thought and word can exist. And his work is a long and deep reflection. Including the Bible. Rembrandt's reference book. Bible story always interested the artist, as if he found in this not only a theme for painting, but also consolation for his tossing soul.

1636 Etching "Return of the Prodigal Son"

At first these were small-format etchings (metal engravings - ed.) on gospel subjects, in which the artist experimented with light and shadow. They could be either sketches of future paintings or independent work. By the way, Rembrandt’s engravings were incredibly popular among customers and art connoisseurs. Engravings made using the dry brush technique (the design is scratched with a hard needle directly on a metal board, and not on a layer of acid-resistant varnish, as in etching) were bought with pleasure (the most famous “Christ Who Healed the Sick”, “Behold the Man”, “Christ in Emmaus") and brought Rembrandt serious income. This is also surprising because in the then Protestant Holland, paintings with religious themes were no longer popular. Rembrandt was almost the only Dutch painter who turned to key subjects Holy Scripture. Of course, not only in etchings, in large canvases as well.

"Return of the Prodigal Son"

The famous painting "The Return of the Prodigal Son", one of latest works Rembrandt. It was written in the year of his death, and became the pinnacle of his talent. And what else could Rembrandt write besides the theme that sounded like a refrain throughout his life?

The story of the prodigal son in the works of Rembrandt

We find the parable of the prodigal son in the Gospel of Luke. It tells about a young man who left his father's house and squandered his inheritance. He spent his days in idleness, debauchery and drunkenness until he found himself in a barnyard, where he ate from the same trough with the pigs. Finding himself in a desperate situation and complete poverty, the young man returns to his father, ready to become his last slave. But instead of contempt, he finds a royal welcome, instead of anger - all-forgiving, deep and tender fatherly love.

At least three times during his life, Rembrandt turns to the parable of the prodigal son.

1633 “Self-portrait with Saskia”

For the first time, in 1633 in the canvas “Self-portrait with Saskia on her knees”. The painting was painted by Rembrandt during a happy time for him. He had just married the daughter of the burgomaster Saskia van Uylenburch, whom he loved very much. And this was their first and last (except for drawings) joint portrait. The painting shows a smartly dressed girl, young and beautiful. At that time, she behaves rather frivolously, because she sits on the lap of young man, who hugged her flexible figure. The young man is a dandy, a carefree dandy in a velvet camisole and a hat with a huge ostrich feather. He is cheerful and pleased with himself: he has the attention of a lady, a glass of sparkling wine in his hands, a hearty dinner is laid on a richly furnished table. Rembrandt depicted himself and his beloved in a carefree pastime, in joy, in ecstasy with life and human happiness.

True, in the upper left corner of the canvas we see a slate board. Such boards usually hung in taverns and the price of what was drunk and eaten was written on them. Was this a hint to the viewer that everything in life will have to be paid for, or simply the composition of the picture required a spot in the corner. Before contemporaries, the picture, in which viewers recognized the young couple, appeared with the title “The Prodigal Son in the Tavern” (“The Feast of the Prodigal Son”). This title conveys both proud self-irony and rebellion. young artist, who challenged the prim Dutch burghers. However, he was not understood. The portrait genre was popular among the Amsterdam rich, and Rembrandt’s next painting made him even more famous and expanded his circle of customers.

In 1636, Rembrandt created the etching “The Prodigal Son”. The master’s hand builds the space: he gives a hint of the landscape, depicts it without unnecessary details minor characters and focuses all attention on the two main characters - father and son. In the kneeling figure of the ragamuffin, pressing his cheek to his father's robe, in his face, exhausted by trials and overgrown with hair, in his almost limp hands and convulsively crooked fingers, repentance is visible. And in the father, rushing to his son so that even his shoe flies off his foot and his cane rolls down the steps, in his eyebrows knitted with bitterness, we read only love. True and ardent love of a conveyed heart.

The tragedy of the artist – “Die several times”

The harbor of Amsterdam was teeming with merchant ships, over which the flags of various countries fluttered. Rembrandt often came here, because he was a passionate collector. He bought everything: paintings, drawings, lace, silk, brocade, velvet, weapons, shells, vases, musical instruments- everything that seemed beautiful, incredible, unique to him. I looked, inhaled, remembered and embodied all this in my paintings. He had never been abroad or seen the masters of Italy. He believed that all this was of no use to him, because he had his own impressions and collection. And Rembrandt's collection was truly magnificent. What is the value of one folder of drawings by Leonardo da Vinci, which he bought either in the port of Amsterdam, or at an auction, or exchanged for a hundred guilders for his own etching from an art dealer.

And now he is deprived of what he valued. The collection was stolen by creditors like vultures. All that remains is to retain in memory what you saw. Death took away his Hendrikje, a faithful servant, who became his wife and mother to the orphan Titus (the son from his first marriage with Saskia) ... his Hendrikje, who did not give up Rembrandt (he could not marry her, since he would deprive the son of his natural mother's inheritance) and for this she was excommunicated from the church. Consumption struck Titus's beloved son, the only one who was truly close to him spiritually. The looming glory took away the last student of Aart de Gelder, "the old king's squire." Madness and despair killed the young daughter-in-law, who had lived with her husband for only seven months.

From all these losses, Rembrandt seemed to be speechless. Misfortunes discouraged, stunned and wounded the old man. The illness did not allow him to hold the brush, and he tied it to his hand, or took a palette knife. His eyes refused to see, and he armed himself with a magnifying glass. He continued to create, as if painting for him was a life-giving source from which he could not drink.

Painting 1669 “The Return of the Prodigal Son”

1669 Rembrandt acts out to the viewer human drama. The paints lie on the canvas in thick strokes. They are dark. The artist does not care about minor characters, even if there are quite a few of them. Attention is again focused on father and son. The old father, hunched over with grief, faces the viewer. In this face there is pain, and eyes tired from crying tears, and the happiness of a long-awaited meeting. The son has his back turned to us. He buried himself like a baby in his father’s royal robe. We don't know what his face expresses. But the cracked heels, the bare skull of the tramp, the poor clothes say enough. Like the father's hands squeezing the young man's shoulders. Through the calmness of these hands, forgiving and supporting, Rembrandt is already in last time tells the world a universal parable about wealth, passions and vices, repentance and forgiveness. “...I will get up and 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 as one of your hired servants. He got up and went to his father. And while he was still far away, his father saw him and had compassion; and, running, fell on his neck and kissed him.” (Luke 15:18-21).

Much later, Van Gogh very accurately said about Rembrandt: “You have to die several times in order to paint like that... Rembrandt penetrates the mystery so deeply that he speaks about objects for which there are no words in any language. That's why Rembrandt is called: a wizard. And this is not a simple craft.”

- Return of the Prodigal Son. The approximate date of creation is considered to be 1666–1669. The artist embodied this gigantic concept in oil on canvas measuring 260×203 mm. The plot of the film was the last part of the parable from the Bible, which tells about a lost son who eventually comes to his native doorstep and repents before his father. The parent is glad to see his younger son alive and unlucky, hugs him like a father, but the older brother is angry and does not approach.

It was this imaginary scene that ended up on the canvas. The master perfectly conveyed the fatherly feelings and repentance 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 feet traveled many roads. Worn out shoes indicate this; they can no longer be called shoes - one shoe simply does not stay on the foot. The son’s face is hidden; the artist depicted him in such a way that the viewer himself could guess what feelings could 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 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 is a great joy for his father. The father looks at the kneeling boy 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 attire: a red cloak and brocade sleeves in its slits - speak of the good wealth of the house, the wealth and dignity of those gathered here.

Experts have not fully figured out the remaining four figures. Versions vary significantly. One of the assumptions is that the sitting young man with a mustache and a dandy hat decorated with a feather is the elder brother of the prodigal. This is possible, since his facial expression speaks of condemnation and he does not participate in the reconciliation of relatives.

The most distant figure is considered female - the 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 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 more intelligent and demanding in his goals. The gaze of this silent witness is turned to the young man kneeling before his father. One can only guess what thoughts cloud the wanderer's face.

The entire canvas is painted in Rembrandt’s favorite reddish-brown tones. The artist managed to skillfully display light accents on the faces of the people depicted and dim the secondary characters. Even without knowing what is written in the biblical parable, when you see this great work, you can read everything on it.