Painting “The Return of the Prodigal Son. The Return of the Prodigal Son by Rembrandt

Return of the Prodigal Son, c. 1666-69

The Return of the Prodigal Son is a famous painting by Rembrandt based on the New Testament parable of the Prodigal Son.

A certain man had two sons; And the younger of them said to his father: Father! give me my next share of the estate. And the father divided the estate for them. After a few days, the younger son, having collected everything, went to the far side and there he squandered his property, living dissolutely. When he had lived through everything, there came a great famine in that country, and he began to be in need; And he went and joined himself to one of the inhabitants of that country, and he sent him into his fields to feed pigs. and he was glad to fill his belly with the horns that the pigs ate, but no one gave him. When he came to himself, he said: How many of my father's mercenaries have enough 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 as your mercenary.
He got up and went to his father. And while he was still far away, his father saw him and took pity; and running, fell on his neck and kissed him. The son said to him: Father! I have sinned against heaven and before you, and am no longer worthy to be called your son. And the father said to his servants: Bring the best clothes and clothe him, and give a ring on his hand and shoes on his feet; and bring the fatted calf, and kill; let's eat and have fun! for this my son was dead and is alive again, was lost and is found. And they began to have fun.
His eldest son was in the field; and returning, when he approached the house, he heard singing and exultation; and calling one of the servants, he asked: what is this? And he said to him, Thy brother has come, and thy father killed the fatted calf, because he received him safe. He got angry and did not want to enter. But his father went out and called him. But he answered his father: behold, I have served you for so many years and have never violated your command, but you have never given me a goat to have fun with my friends; but when this thy son, who wasted his property with harlots, came, you killed the fatted calf for him. But he said to him: My son! you are always with me, and all mine is yours, but about that it was necessary to rejoice and be merry, that your brother was dead and came to life, was lost and was found.

Luke 15: 11-32

The plot of the picture

The painting depicts the final episode of the parable, when the prodigal son returns home, “and when 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, was angry and did not want to enter.

Description

This is the largest painting by Rembrandt on a religious theme. Unlike his predecessors Dürer and Luke Leiden, who portrayed the prodigal son feasting either in dissolute company or with pigs, Rembrandt focused on the essence of the parable - the meeting between father and son and forgiveness.

Several people gathered in a small area in front of the house. On the left side of the picture, the prodigal son kneeling 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, embracing him. The painting is a classic example of composition, where the main thing is strongly shifted from the central axis of the painting 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 almost at the edge of the painting. 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 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. "

The shaved head of the prodigal son and his tattered clothes, like a convict, testify to the fall. The collar retains a hint of former luxury. The shoes are worn out, and a touching detail - one fell when the son knelt. In the depths one can guess the porch and behind it the father's house. The master placed the main figures at the junction of the picturesque and real spaces (later the canvas was placed below, but according to the author's intention, its lower edge passed at the level of the toes of his kneeling son). “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. " “Before us is a decentralized composition with a main group (event node) on the left and a caesura separating it from the group of witnesses of the event on the right. The event causes the participants in the scene to react differently. The plot is built according to the compositional scheme “response” ”.

Minor characters

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 disturbed by anything.

Hermitage employee Irina Linnik believes that Rembrandt's painting 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, engraving in Greek, Hebrew, and Latin says "God." An X-ray of the Hermitage canvas showed the initial resemblance of Rembrandt's painting to the details of the above-mentioned engraving. Nevertheless, a direct analogy cannot be drawn - the picture only has a distant resemblance to one of Antonissen's allegories (the most distant 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 a female, perhaps a servant or another personified allegory; and a male), are more difficult to guess. A seated young man with a mustache, if you follow the plot of the parable, can be a second, obedient brother. There is speculation that the second brother is actually the previous "female" figure hugging the pillar. Moreover, maybe this is not just a column - in shape it resembles a pillar of the Jerusalem temple and can quite symbolize the pillar of the Law, and the fact that the righteous brother is hiding behind it takes on a symbolic sound.

The researchers' attention is drawn to the figure of the last witness, located on the right side of the picture. She plays an important role in the composition and is written almost as brightly as the main characters. His face expresses sympathy, and the traveling cloak he wears and the staff in his hands suggest that he, like the prodigal son, is a lonely wanderer. Israeli researcher Galina Luban believes that this image is associated with the figure of the Eternal Jew. According to other assumptions, he is the eldest son, which does not coincide with the age characteristics of the New Testament character, although he is also bearded and dressed like a father. However, this rich clothing is also a refutation of the version, since according to the Gospel, upon hearing about the return of his brother, he ran straight from the field, where, most likely, he was in work clothes. Some researchers see in this figure a self-portrait of Rembrandt himself.

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 depicted on the other half, but only until the prodigal son leaves the house to meet the revelry. Thus, the canvas, as it were, combines two chronological plans. It has been argued that these two figures are the image of the publican and the Pharisee from the gospel parable.

In profile, in the form of a bas-relief on the right side of the standing witness, a musician is depicted playing the flute. His figure, perhaps, recalls the music, which in a few moments will fill his father's house with the sounds of joy.

Circumstances of creation

This is not the only work of the artist on this subject, although he created works with a different composition. In 1636 he created an etching, and in 1642 - a drawing (Teyler Museum in Haarlem).

In 1635, he creates a painting "Self-portrait with Saskia on his knees", reflecting an episode of the legend about the prodigal son, squandering his father's inheritance.

The circumstances surrounding the painting are mysterious. It is believed to have been written in the last year of the artist's life. Changes and corrections to the original design of the painting, visible on x-rays, testify to the authenticity of the painting.

The traditional dating of 1668-1669, however, is considered controversial by some. Art historians G. Gerson and I. Linnik proposed to date the painting in 1661 or 1663.

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 was 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 management of the household, and the younger demanded his share 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 in front of 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 at one time was 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

Russia, according to official statistics, is 80% Orthodox country, but in fact it is still undecided, it is living in Great Lent.

Services in churches were lengthened, and a lenten menu appeared in cafes. But that part of the population that does not belong to Orthodoxy statistically, but consciously, began to prepare for fasting in a few weeks. "Stol" tried to penetrate this tradition through the Hermitage.

The Rembrandt Hall in the Hermitage has green walls. The first picture that meets us at the entrance to the hall is "The Return of the Prodigal Son." Figures grow out of the thick gloom, gestures and relations of the heroes become clear. The son, tormented by fate, with the shaved head of a convict, in shabby clothes, with worn legs that cannot go any further, kneels, hugging his father. And he put his hands on his shoulders, accepting. The son's face is almost invisible. The father's face is like a source of light.

Rembrandt. The return of the prodigal son. 1668-1669

A certain man had two sons. And so the younger son said to his father: "Father, give me that share of the family wealth that is due to me!" And he divided his property between them. After a few days, the younger son, taking everything, left for a distant country and there, leading a dissolute life, squandered all his wealth (Luke 15: 11-13)

At its end, the life of Rembrandt Harmenszoon van Rijn resembled a falling color. He died in 1669. The notarial inventory of the property left behind by the artist is very short: two jackets, a dozen berets, handkerchiefs, various accessories for paintings and a Bible.

In the last 10 years of his life, he lost his wealth, friends to whom he gave his paintings, the house in which he lived with his first and beloved wife Saskia. She made her husband rich and happy after living with him for 8 years, but died shortly after the birth of their fourth and only surviving child, the boy Titus. One of the most famous works of the artist "Self-portrait with Saskia on her knees" is the apotheosis of the author's happiness. But many people call this same work "The Prodigal Son in a Tavern": the author is in glory and power. He is confident in himself, he hopes for himself and for eternal happiness.

After Saskia, Rembrandt tortured fate with other women. And now the maid Hendrickje Stoffels became his chosen one. Because of the connection with her, many with disgust turned away from the artist. But she was his faithful companion until her death in 1663. The last consolation of Rembrandt was his only son. But he also left his father, dying just 7 months after Hendrickje.

Rembrandt continued to work. Glory then left the artist, slyly resting on the knees of his students - daring, modern, while almost forgotten today, painters. But the master continued to receive orders, brilliantly executed them. He also wrote his own. In the year of his death, he completed the painting The Return of the Prodigal Son.

Rembrandt. Self-portrait with Saskia on her lap. 1635 year

And when he had spent everything, there was a severe famine in that country, and the need became sensitive to him. He went and hired himself to one of the inhabitants of that country, and he sent him to his pastures to graze pigs. And he would have been glad to eat his fill at least the horns that the pigs used to feed, but no one would allow him (Luke 15: 14-16)

- The week of the prodigal son is one of the preparatory Sundays for Great Lent. An attitude of repentance is created, - says art critic, master of theology and catechist ... - Before her is the Week of the Publican and the Pharisee. It is about how people pray, one of whom is exalted at the same time over the other, and that justification cannot be achieved from this. And after it is the Week of the Prodigal Son, when everyone puts himself in his place: after all, in life, as it is believed, we fall away from God all the time, and the prodigal son makes us understand that we must repent and return to Him.

Kopirovsky recalls that this liturgical system appeared rather late, when church members already had to be told that they needed to repent; when they needed landmarks, beacons, "stimulants" to shake themselves spiritually and see where in their lives the holes eaten by moths or rust were.

Over time, the more ignorance and pagan remnants a person brought with him to church, the more such reminders arose in the church calendar. These reminders remain unchanged in the divine service to this day.

– At the center of this day, forgiveness is fundamental and essential. It makes anyone think. The point is not even that a person has learned to forgive - this is usually the last thing they think about - but at least noticed that someone was forgiven, that others are forgiving.

Alexander Mikhailovich Kopirovsky

And then, coming to his mind, he said to himself: “How many workers from my father receive food in abundance, and here I am dying of hunger! I will get up, go to my father and say to him: “Father, I have sinned against Heaven and against you; I am no longer worthy to be called your son, let me be for you as one of your workers! ””. And he got up and went to his father. His father saw him from afar, and took pity on him heartily, and ran to meet him, and threw himself on his neck and kissed him (Luke 15: 17–20)

In Soviet times, this picture could be interpreted in different ways. The plots of Scripture for a strong ideological guide were myths, cultural facts. Rublev's "Trinity" was often presented as "a sweet memory of a green, slightly brown field of rye, dotted with cornflowers," pushing its essence and spiritual content onto the tenth plane. Rembrandt was not spared either. Alexander Kopirovsky recalls:

- They said and wrote that Rembrandt is a realist, that he overcame the bourgeois tastes of his time, destroyed the tradition according to which painting should be bright, outwardly representative, openly showed the human soul ... That is, they took everything into psychology. They could interpret the picture as his memory of his deceased son, an expression of his parental feelings. But Titus did not run away from his father anywhere, although he did not intend to continue his work and tradition.

Of course, in his works on the plots from the Bible, Rembrandt did not express himself personally, not exclusively his experiences and feelings. He revealed what was contained in the Holy Scriptures itself.

–The meaning and spirit of the gospel parable of the prodigal son - this is what he expressed, – says Alexander Mikhailovich. - He does not illustrate a parable. The illustration assumes exact adherence to the text. But in the picture, the prodigal son has already said all the words that he utters according to the plot, and the father does not behave like in Scripture. It does not say that he hugged his son and froze - it immediately refers to a holiday in honor of the return of the young man. In addition, there is an eldest son in the picture. Here he is standing on the right in a red, like his father's, cloak, although according to the plot he was not at that moment. But the real artist is so interesting because he boldly expands the boundaries of the plot! He freely interprets it, without introducing anything from himself, but discovering the meaning of the event, which does not lie on the surface.

Murillo. The return of the prodigal son. 1660 year

And the eldest son was angry and did not want to enter; but the father came out and began to invite him. And he answered his father: “Behold, I have been serving you for so many years, and I have never disobeyed your command; and you never gave me a kid so that I could feast with friends. And when this son of yours returned, who ate your property with harlots, for him you killed a fatted calf! " But he said to him: “Child, you are always with me, and all mine is yours; but you had to rejoice and rejoice that this brother of yours was dead and came to life, was lost and is found ”(Luke 15: 28-30)

The parable is told in order to hear not its storyline, but its essence, the result. The father's mercy is a secret, its depth is incomprehensible, but it is revealed. Love triumphs over victory.

When the prophets and interpreters of the Gospel fell silent, their role, in a sense, was taken over by poets, writers, and artists. And Rembrandt boldly interprets the Gospel parable, showing the power and beauty of the father's mercy, and not his external actions. He depicts the meeting of the father with the prodigal son, and in fact, extremely realistic, but at the same time mystical. This is facilitated by the literally “sounding” thick colors of the picture, especially the red, regal and pacifying at the same time. The mysterious "Rembrandt" light that is poured into it, which snatches the characters of the parable from the surrounding darkness, speaks of this.

Researchers argue about what kind of "extra" people are there in the picture? They guess, try on roles, make hypotheses. But, most likely, it is you and me, who "entered" the canvas as witnesses of a miracle.

The younger son's repentance is not just his awareness of his own fall. He could indulge in self-flagellation as much as he wanted, sob and still remain with his pigs. But he “came to his senses,” got up and went to his father, came to him and said everything he wanted to say to him - this is repentance, which will surely be followed by the miracle of forgiveness. In such a mood it is very good to enter Great Lent.

Alexander Kopirovsky believes that Rembrandt has surpassed himself here. He managed to show not a moral and edifying scene: how good it is to forgive! He showed, if I may say so, the solution to the problem of fathers and children: when there is such a hug, this problem is not. Father and son as one, they merged. The father puts his huge heavy hands on his son's back, and the son falls not to the father's chest, not to his shoulders, but, like a little one, to the father's bosom. The return took place.

– This is a conversation about the very essence of life– says Kopirovsky. - No clever interpretations are needed here. This is how you can talk seriously with a modern person who puts before himself at least some spiritual questions. Because today such a person comes to God most often not as a prodigal son, but as a spectator in a museum. “What have you got here? I'm wondering, well, show me God! Well, look ... And something is happening. The person begins to see.

Before Great Lent, the Church remembers the parable of Christ about the prodigal son.

One man had two sons. The youngest of them said to his father: “Father! give me the portion of the estate that I follow. " The father complied with his request. After a few days, the younger son, having collected everything, went to a distant country and there, living dissolutely, he squandered all his property.

Click on the image to view the gallery

Gerrit van Honthorst. Prodigal son. 1622

When he had lived everything, there came a great famine in that country, and he began to be in need.

Expulsion of the prodigal son. Bartolomeo Murillo. 1660

And he went and joined (ie, joined) one of the inhabitants of that country; and he sent him into his fields to feed pigs.

From hunger, he would be glad to eat the horns that the pigs ate; but no one gave it to him.

Then, having come to his senses, he remembered his father, repented of his deed and thought: “How many mercenaries (workers) from my father eat bread in abundance, and 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. "

And so he did. He got up and went home to his father. And when he was still far away, his father saw him and took pity on him. The father himself ran towards his son, fell on his neck, kissed him. The son began to say: “Father! I have sinned against heaven and before you, and am no longer worthy to be called your son "...

The return of the prodigal son. Bartolomeo Murillo 1667-1670

Prodigal son. James Tissot

aligncenter "title =" (! LANG: Return of the Prodigal Son (29)" src="https://www.pravmir.ru/wp-content/uploads/2012/02/ProdigalSonzell.jpg" alt="Return of the Prodigal Son (29)" width="363" height="421">!}

Return of the prodigal son

But he answered his father: “Behold, I have been serving you for so many years and have never violated (did not violate) your command; but you never gave me a kid to have fun with my friends. And when this son of yours came, having dissipated his property, you killed the fattened calf for him. "

The father said to him: “My son! you are always with me, and all mine is yours. And about this you ought to have rejoiced and rejoiced, that your brother was dead and revived; disappeared and was found. "

In this parable, the father is God, and the prodigal son is the repentant sinner. Every man is like the prodigal son, who with his soul moves away from God and indulges in a willful, sinful life; with his sins, he destroys his soul and all the gifts (life, health, strength, abilities) that he received from God. When the sinner, having reasoned, brings God sincere repentance, with humility and hope for His mercy, then the Lord, as a merciful Father, rejoices with His angels at the conversion of the sinner, forgives him all his iniquities (sins), no matter how great they may be, and returns to him His favors and gifts.

With the story of the eldest son, the Savior teaches that every believing Christian should wholeheartedly wish everyone salvation, rejoice at the conversion of sinners, not envy God's love for them and not consider themselves worthy of God's mercies more than those who turn to God from their former lawlessness. life.

Text: Archpriest Seraphim Slobodskoy

Images: Open Source

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 the young man soon 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 all of Christianity: "This son of mine 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 fattened 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, it comes when preparations are 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, we see a young man humbly 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 other - 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 no longer traded with anyone 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.

The 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 grand style. The latter circumstance irritated the relatives of Saskia - the classic Flemings, who could not tolerate 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. In many ways, therefore, 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 practically deliberately 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.