The main difference between the creativity of Rembrandt Van Raina - his timeless character. Historically belonging to the heyday of the Dutch painting XVII century, it does not allow to detect an explicit binding to it; neither by topics affected by the pictures or fine articlesWith the help of which he reveals these topics. This property of painting Rembrandt ripens with the strength of the master, reaching a maximum by the end of it.

"Return prodigal Son."- a picture, which is considered to be a testament ingenious artist. Art historians usually dating her 1663 - the year of the death of Maestro. The scale of the philosophical filling of this plot, and the picturesque sound of the canvas achieve truly cosmic scope.

Eternal plot

It was interested in primarily the depths of human nature, the motives of the actions of people. Therefore, it is clear why Rembrandt wrote to biblical plots much more often of his contemporaries. Parable about the prodigal son is one of the most popular plots of world painting. "The return of the prodigal son" is a picture that has separate intrinsicness, but this is the continuation of the conversation. His interpretation of parables had Jerome Bosch, Albrecht Durer, Murillo and many other masters different countries and generations.

Rembrandt and himself refers to this plot repeatedly - his etchings are known with the name "Prodigal Son". The arguments on this topic are detected by researchers of Rembrandt's creativity even in such a famous Master's thing as "self-portrait with sasquia on his knees" (1635). This is also a kind of "return of the prodigal son" - a picture that is interpreted by them as an illustration of that part of the parable, which tells about the mood of the son, mindlessly trading father's legacy. From this point of view, the joy of being, which is radiated by the wizard, written in the happiest periods of life, is complemented by a little different tint.

The painter is not life, but the Spirit

The originality is explained by his purely picturesque techniques, the use of palette, work with light and shadow. If the most "small dutch" and consonant artists are characterized by the desire to the exact and tangible image of things, the expression of their material entity, then the Rembrandta appear items from non-existence or "from the darkness of the former", while in close relationship with the time of time, with history. Having written "the return of the prodigal son", Rembrandt confirmed his loyalty to a special atmosphere inherent in only him, which highlights the main thing on the canvas, without manifesting the light of a single important detail.

And it is not easy virtuoso game "Masters of lighting", as the historians and experts of his creativity call the genius Dutch. This is an extra designation of the primacy for it internal content of human actions, searching for their motivating reasons. Where does the essence of a person, who is created and how is it that is determined by being? In the fact that it sets such questions and offers its answers that are not associated with the time in which he lived, neither internal nor external attributes, Rembrandt shows that it is modern and relevant.

"Return of the Prodigal Son": description

His picturesque manner is such a means to create a story, telling stories that neither one of the artists at all times did not possess. How does Rembrandt say ancient parable About returning home?

... We are present during the pause, which comes after the son approached the threshold of the father's house. This pause is not a silent - she rings ... After all, too much is lost - his head is audited, like the convict, his shoes worn, he didn't have any strength left, neither the means to achieve something, nor even desires and ambitions. Terrible finals of unfulfilled hopes. Father comes out and just puts his hands on his shoulders to his son, and he falls, almost dissolving in the folds of his clothes. "The return of the prodigal son" - a picture of the completion of all earthly ways, where in the end there will be a golden beam, similar to the fact that he highlighted those who met those who met, lit one of the most outstanding Rembrandt images - the head of his father. This ray is mercy, which is worth hoping to all lost.

Questions and answers

Like other masterpieces, "the return of the prodigal son" Rembrandt gives many mysteries and secrets. They may have appeared simply because of a long temporary remunity, and at the time of writing the picture, her viewers were clear, for example, who are the rest of the canvase characters, why they are so different, with such different feeling Watching the came. Why are her father's hands lying on his son's shoulders, so squirmishly different from each other?

With the absence of time, much was lost, and most of the secrets simply lost their value. Indeed, is it important, in the end, in what kind of relationships are people present on the canvase? Are they important social status or financial condition? Now they are all - just witnesses of an exciting event - meetings after a long separation of the two native people, witnesses the act of forgiveness, on which the Christian worldview is largely founded.

For all times

Rembrandt Wang Rhine ... "The Return of the Prodigal Son" is a picture that is almost literally repeated in the final of the famous film Andrei Arsenievich Tarkovsky "Solaris", released in 1972.

Images born in many centuries before this turn out to be the most suitable for the expression of the feelings that survive the main character Film - Chris Celvin, returning to the native threshold from the star system, located for millions of kilometers from him ...

While working on the picture " The night Watch"Rembrant's beloved wife died - Saskovia. The relatives of the deceased began to pursue the artist with litabes because of the inheritance, seeking to snatch a part of the dowry, bequeathed Rembrandt Sasquia.

Return of the Prodigal Son, 1669. Canvas, oil, 262x206.
State Hermitage, St. Petersburg

But not only relatives pursued Rembrandt. He was always precipitated by creditors who were thrown on the great artist as a greedy sample. And in general, Rembrandt has never been surrounded by the honors, never in the center of general attention, did not sit in the forefront, no poet during the life of Rembrandt saming him. At official celebrations, in the days of the big festivals they forgot about him. And he did not love and avoided those who were neglected. The usual and favorite company of them was the shopkeepers, gentlemen, peasants, artisans are the easiest person. He loved to visit the port zucchini, where the sailors, old women, wandering actors, small thieves and their girlfriends have fun. He sat down with pleasure clock there, watching the bustle and sometimes sketching interesting personswhich then transferred to their web.

Now in Amsterdam's 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 a trial meeting with such an indifferent look, as if it didn't touch him at all. He did not hear the speeches of the judge and crumbs of creditors. His thoughts were Vitaly so far from the meeting that he could not answer anything to this or that the judge's question, or his answers had no connection with the court.

It is a turn to speak Van der Pete - the artist's lawyer. Slowly and expressively outlined the situation of the case. Intelligently, cautiously and diligently protecting the behavior of Rembrandt, he called human feelings lenders and to the sense of justice the judge. He threw convincing, caustic and passionate words: "Let them burn from shame those who in the name of insignificant monetary sumswho do not threaten them with the slightest loss or misfortune, they want to make Rembrandt aphrous / I, Van der Pete, I say not only as a lawyer of the debtor, I speak on behalf of all mankind that wants to take off the undeserved blows of fate from one of the great sons of him. .. Equal Shakespeare / Think all that are here: We will cover the grave hills, we will disappear from the memory of descendants, and the name of Rembrandt still a century will rattle over the world, and his shining works will be proud of the whole land! "...

Yes, Rembrandt's paintings, undoubtedly, are the top of the Dutch painting, and in the work of the artist himself, one of these vertices was the picture "Return of the Prodigal Son". He wrote it in the last year of life, when he was already old, poor, deadly sick and weak, lived in hunger and cold. Nevertheless, he wrote in Rock, wrote and wrote in the country and the city, which forever glorified.

The theme for writing the picture was the famous gospel parable, telling how after long wandering in the unless world of the prodigal son returned with slept hope To his father left. This story attracted many artists long before Rembrandt. The Master of Renaissance was seen in the reconciliation of the Father with a naughty son a beautiful and entertaining sight. So, in the picture of the Venetian artist Bonifacio, the action takes place in front of a crowded estate, in front of a crowded discharged crowd. Dutch artists attracted more tests, which a distemper son was subjected to a foreign land (for example, a scene, when the inequate cattle yard Among the pigs was ready to redeem his prejudice prayer).

Rembrandt The theme of the "Prodigal Son" accompanied for many years of life. He addressed this plot back in 1636, when he worked on the such as the same name. In their paintings on biblical and evangelical scenes The artist rarely depicted scenes of passions or miracles, he was more attracted by the stories about the everyday life of people, especially the scenes from the patriarchal family life. For the first time, the history of the prodigal son was represented by Rembrandt in the engraving, on which he suffered a biblical plot into the Dutch environment and depicted his son as a bony, half-cool creature. By this time, the drawing, on which the father vigorously squeezes the shaggy's head with his hand: Even per minute of reconciliation, he wishes his father's power.

Rembrandt returned many times to this topic, and over the years he represented it every time in different ways. In early versions, the son violently expresses his repentance and humility. In a series more late drawings The spiritual gusts of the Father and the Son are not so naked, the element of the edification disappears. Subsequently, Rembrandt began to occupy an almost unspeaked meeting of the old man and son, in which the strength human love And all apartments are still ready to reveal. Sometimes it was a lonely old man sitting in a spacious room, in front of him knelt his unborn son. Sometimes it is an old man entering the street where an unexpected meeting is waiting; Or the son is suitable for him and firmly squeezes it in hugs.

After 30 years, the artist creates a composition of less detailed, narrative, in which the emphasis was transferred to the old man. The plot of the paintings "The Return of the Prodigal Son" is not directly related to the previous sketches, but it was in her who put Rembrandt all his creative experience And almost the most important thing from life experience.

Rembrandt thoughtfully thoughtfully in a biblical story, but he was not a simple illustrator who seeks to reproduce the text. He got into the parable, as if he had witnessed the resulting, and it gave him the right to accept the underwent.

A few people gathered in front of the house in front of the house. Troubled, beggar, in the rope rapid rags, with a shaved head of the convict stands the prodigal son on his knees and hides the face on the old man's chest. Inspired by shame and repentance, he, maybe for the first time in many years felt the warmth of human hugs. And his father, leaning towards the "tramp", with a careful tenderness presses him to himself. His senile, non-hard hands gently lie on the back of the son. This minute in its own way psychological state Even an eternity, both of them pass the years spent by each other and brought so many spiritual torments. It seems that suffering has already been so broke through them that the joy of the meeting did not bring relief.

The meeting of the Father and Son takes place at the junction of two spaces: the porch guessed and behind him the cozy father's house. Before the painting is meant and invisibly present is the limitless space of the sucked son of roads, alien and the world who turned out to be hostile to him.

The figures of the Father and Son make a closed group, under the influence of their feelings that swept their feelings, as it were, they would merge together. Towing over the crankshakened son, the father of soft hands touches him. His face, hands, Pose - Everything talks about the rest and happiness found after for long years painful waiting. Father's forehead as if radiates light, and this is the lightest place in the picture.

Nothing disrupts the concentrated silence. With tense attention, they are watching the meeting of the Father and the Son present. Among them, the man stands on the right in the Red Cloor, whose figure is like the main acting persons with people around them.

Carefully monitors what is happening and the man standing behind. His look wide open eye It suggests that he is imbued with all the importance and seriousness of the moment. With sincere sympathy looks at the father and the son standing away. It is difficult to say who these people are. Maybe Rembrandt and did not seek individual characteristic present, as they serve only an addition to the main group.

Rembrandt long and persistently looking for a figure of a prodigal son, already in the prototypes of numerous drawings and sketches a prodigal son is guessed. In the picture, he is hardly the only one in classical painting The hero who completely turned away from the audience. The young man wandered a lot, tested a lot and survived: his head is covered with scabs, stopotan shoes. One of them fell off his legs, and the viewer sees the heel scorst. He barely reached the threshold of his father's house and in exhaustion sank to his knees. The coarse shoe spawned from his feet is eloquently talking about how long the path was passed, what humiliation he was subjected. The viewer does not have the opportunity to consider his face, but after the prodigal son, he, too, seems to be in the picture and falls on his knees.

Mysterious light pours out of the depths of the gloom canvas. He gently envelops the figure of a blind father, stepped from darkness to meet her son. Surrounding as it were, in anticipation of words about forgiveness, but no words ... The old man, indeed, the impression of the blind, although in parable nothing is said about his blindness. But she, apparently, seemed to Rembrandt something more capable to convex to portray the excitement of the touched heart.

The feeling of infinite joy and love captured the father entirely, in essence, he doesn't even hug his son, as he is no longer there is no strength and his hands are not able to press her son. He simply feels him, thereby goodbye and protecting.

Art historian M. Alpatov considers the chief character of the father's picture, and the prodigal son is only a reason for his father to show his generosity. He even believes that the picture could be called "Father, forgiving the Prodigal Son."

He who appreciates mainly external beautyPerhaps will find in this picture of Rembrandt a lot of ugly and angular. But the mysterious effect of light, increasing far-extended by dirty, cares for himself any viewer, and the harmony of wonderful shades of paints acts on his soul like the melodies of vintage church chants.

"One hundred great paintings" N. A. Ionina, publishing house "Veche", 2002

nearyou.ru.

Rembrandt Harmers Wang Rhine (1606—1669) — dutch artist, painter and engraver, great master of lighting, the largest representative of the Golden Age of Dutch painting. He managed to embody in his works the entire spectrum of human experiences with such an emotional saturation, which the visual art did not know before him.

Encyclopedic YouTube.

1 / 5

The film depicted the final episode of parables, when the prodigal son returns home, "and when he was still far away, he saw his father and clenched him; And, running, fell on her neck and kissed him, "and his senior righteous brother, who remained with his father, was sore and did not want to enter.

The plot attracted the attention of the famous precursors Rembrandt: Durera, Bosch, Luju Leiden, Rubens.

Description

This is the largest cloth Rembrandt on a religious topic.

A few people gathered in front of the house in front of the house. In the left side of the picture depicted back to the viewer of the crankshakels of the prodigal son. His faces are not visible, the head is written in pROFIL PERDU.. Father gently touches the shoulders of his son, biting him. Picture - 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 \u200b\u200bthe work. "The main thing in the painting Rembrandt allocates light, focusing on it our attention. The composition center is located almost at the edge of the picture. The artist balances the composition of the figure of a senior son standing on the right. The placement of the main semantic center for one third distance of height corresponds to the law of the golden section, which artists used from ancient times to achieve the greatest expressiveness of their creations. "

Shaved, as if the convict, the head of the prodigal son and his sweeping clothing testify to fall. The collar stores a hint on the former luxury. Shoes are worn, with a touching item - one fell, when the son was kneeling. In the depths, the porch is guessed and behind him the father's house. The master put the main figures at the junction of the picturesque and real spaces (later the canvas was adopted at the bottom, but according to the author of the author, his lower edge was held at the level of the toes of the kneeling son's fingers). "The depth of space is transmitted by a consistent weakening of black and color contrasts, ranging from the first plan. In fact, it is built by the figures of the witnesses of the scene of forgiveness dissolving gradually in the twilight. " "We have a decentralized composition with the main group (Event node) on the left and cesury, separating it from a group of witnesses events on the right. The event makes differently reacting the scene participants. The plot is built on the "response" composite scheme.

Minor characters

In addition to the Father and Son, 4 characters are depicted in the picture. These are dark silhouettes that are hardly distinguishable on a dark background, but who are them - remains a mystery. Some called them "brothers and sisters" of the main character. It is characteristic that Rembrandt avoids the conflict: in parable, the jury of the obedient son speaks, and the harmony of the picture is not broken.

Hermitage officer Irina Linnik believes that Rembrandt's canvas has a prototype in the engraving on the tree of Cornelis Antonissen (1541), on which the crankshake son with his father is also depicted surrounded by figures. But on the engraving these figures are inscribed - faith, hope, love, repentance and truth. In heaven on the engraving in Greek, Hebrew and Latin written "God." The Hermitage Frame X-ray showed the initial similarity of the Rembrandt's pattern with the details of said engraving. Nevertheless, it is impossible to conduct a direct analogy - there is only a distant similarity with one of the Allegories of Antonissen (the most distant and almost disappearing in the dark), which reminds the allegory of love, and, in addition, has a red heart-shaped medallion. Perhaps this is an image of a mothers of a prodigal son.

Two figures in the background, located in the center (apparently, female, perhaps - a maid or another personified allegory; and men's), it is more difficult to be a guess. Sitting young man with a mustache, if follow the plot of parables, may be the second, obedient brother. There is a suggestion that in fact the second brother is the previous "female" figure, hugging a column. Moreover, it may be not just a column - in shape it reminds the pillar of the Jerusalem Temple and can completely sympathize with the pillar of the law, and the fact that a righteous brother is hiding behind it, it becomes a symbolic sound.

The attention of researchers is attracted by the figure of the last witness, located on the right side of the picture. She plays important role In the composition and written almost as bright as the main actors. His face expresses sympathy, and the road raincoat on him and the staff in the hands suggest that this is, as well as the prodigal son, a lonely wanderer. The Israeli Researcher Galina Lyuban believes that this image is associated with the figure of Eternal Jew. According to other assumptions - it is he who is the eldest son that does not coincide with age characteristic New Testament Character, although he is also a bearded and dressed as a father. However, this rich clothing is also a refutation of the version, because according to the Gospel, hearing about the return of his brother, he came running straight from the field, where, most likely, it was in working clothes. Some researchers see the self portrait of Rembrandt himself in this figure.

There is also a version that two figures in the right side of the picture: a young man in beret and standing man - These are the same father and son, which are depicted on the other half, but only before the care of the prodigal son from home towards traveling. Thus, the canvas, as it were, combines two chronological plans. The opinion was expressed that these two figures - the image of Mytar and Pharisee from the Gospel Proverbs.

In the profile in the form of a bas-relief on the right side of the standing witness, a musician who plays a flute is depicted. His figure may be reminded of music, which in a few moments will fill the sound of the joy of the house of the Father.

History

Circumstances of creating

This is not the only work of the artist for this plot. In 1635, he writes a picture of the "prodigal son in the tavern (self-portrait with sasquia on his knees)", reflecting the episode of the legend of the prodigal son, a wasting father's legacy. In 1636, Rembrandt created etching, and in 1642 - drawing (Taylor Museum in Kharlem).

The circumstances of the writing of the canvas are mysterious. As it is believed, it is written in the last years of the artist's life. Changes and corrections initial design The pictures noticeable on the radiograph indicate the authenticity of the canvas.

Dating 1666-1669, some are considered controversial. Historians of Art G. Gerson and I. Linnik offered to date the picture 1661 or 1663.

• 




Canvas, oil.
Size: 260 × 203 cm

Description of the painting "Return of the Prodigal Son" Rembrandt

Artist: Rembrandt Harmens Wang Rhine
Picture Title: "Return of the Prodigal Son"
Picture written: 1666-1669
Canvas, oil.
Size: 260 × 203 cm

The 17th century is known not only by the end of the Inquisition, but also by the fact that the plot of the biblical parable about the prodigal son became popular. The young man who climbed his part of the inheritance and father went to travel. Everything was joined to drunkenness and Kutai, and later the young man has been working as a swineman. After a long navigocitation and adversity, he returned home, and his father accepted him and burst into tears.

Artists of that time began to actively exploit the image of a newless son, depicting it to playing cards, which indulges to joy with beautiful ladies. It was a hint of the worst and insignificance of the pleasures of the sinful world. Then Rembrandt Harmens Wang Rhine appeared and in 1668-1669 created a canvas, so distinguished from generally accepted canons. To understand and reveal deepest meaning This plot, the artist was not easy life Path "He lost all his favorite people who saw glory and wealth, bitterness and poverty."

"The Return of the Prodigal Son" is a grief of lost youth, regret that it is impossible to return the lost days and food for the mind of many historians and art historians.

Look at the canvas itself - it is a gloomy, but from somewhere from the depths, and demonstrates the platform before rich in the house. The whole family gathered here, the blind father hugs his son who stands on his knees. This is the entire plot, but the canvas special at least in its compositional techniques. The canvas is rich in special inner beauty, it is extremely ugly and even angry. This is just the first impression that dispels the mysterious light, going beyond the boundaries of darkness, capable of attaching the attention of any viewer and clean his soul.

The main figures of Rembrandt places not in the center, but are somewhat shifted to the left side - the basic idea of \u200b\u200bthe picture is revealed so best. The artist allocates the most important way as images and details, but by light that transfers all participants in the event to the edge of the canvas. It is noteworthy that the balance for such composing reception The eldest son becomes in the right corner, and the whole picture is subordinate to the golden section. This law artists used for the best image of all proportions. But Rembrandt in this plan turned out to be special - it built a cloth resting on the shapes, transmitting the depth of the space and the response scheme, that is, the reaction to the event.

the main thing actor Biblical parable - the prodigal son, whom the artist depicted a brithead. In those days, there were only religious soldiers, so the young man fell on the low level of social layers. The collar of his costume is a hint of a luxury, which the young man once knew. The shoes worn almost to the holes, and one fell, when he became knees - a pretty touching and cheating.

The old man who hugs the son is written in red clothes that wearing rich people and seems blind. And biblical legend Does not talk about it, and the researchers believe that the whole picture is the image of the artist himself in different images that symbolize spiritual rebirth.

Form junior Son - this is the image of the artist himself who decided to repent in his misconduct, and earth Father And God, that hears and, perhaps, will forgive - this is an old man in red. The eldest son, with reproach looking at his brother - this is a conscience, and the mother becomes a symbol of love.

There are 4 more shapes in the picture that are hidden in the shadows. Their silhouettes are hidden in the dark space, and researchers call images by brothers and sisters. The artist would depict them as relatives if not only one detail: the parable tells about the jealousy of the older brother to the younger, but Rembrandt excludes it using psychological reception Family harmony. Figures mean faith, hope, love, repentance and truth.

Interestingly, the fact that the most masters of the brush does not consider t dive man. He thought and enjoyed the earthly life, possessing the thinking ordinary person With all his fears and experiences. Most likely, for this reason, the "return of the prodigal son" is an illustration of a human path to self-knowledge, self-cleaning and spiritual growth.

In addition, the picture center is considered reflection inner world Artist, his worldview. He - standing aside as an observer who wants to catch the whole essence of what is happening and involving the viewer into the world human fate and experiences.

The picture is a sense of infinite joy of family and father's defense. Probably, therefore, you can call the main character exactly the father, and not a prodigal son, who became a reason for the manifestation of generosity. Look carefully to this person - it seems older than the time, and his blind eyes are inexplicable as well as written by the Golden whopping boys. The dominant position of the Father in the picture is confirmed by a silent celebration, and hidden splendor. He reflects compassion, forgiveness and love.

... Rembrandt died in 63 years old. He was old, poor, evil and sick old man. Notary described his property quickly: pair of fufayeks, several nasal scarves, a dozen beret, paintings for paintings and the Bible. A man sighed and remembered that the artist was born in poverty. This peasant learned everything, and his life resembled the element that swings the soul on the waves of triumph and greatness, fame and wealth, of real love and incredible debts, trace, contempt, bankruptcy and poverty.

He survived the death of two women, who loved, left his students and got a society, but Rembrandt worked as at the heyday of his talent and glory. The artist still snapped the plot of the future canvases, picked up paints and blacks.

One of the greatest masters Brushes died in full of loneliness, but opened painting as a way to the best of the worlds, as the unity of the existence of the image and thought. His work of recent years is not only thinking over the meanings biblical plot About the prodigal son, and the ability to take themselves without anything and forgive before, than to look for forgiveness from God or the Higher Forces.

- Return of the prodigal son. The estimated date of creation is considered to be 1666 - 1669 years. The gigantic design of the artist embodied oil in canvas in size 260 × 203 mm. The plot to the picture served the last part Proverbs from the Bible, where he tells about the lost son, which eventually comes to his native threshold and in front of the Father. The parent is glad to see the living and unavailable younger offspring, it hugs him away, and the elder brother is angry and does not fit.

It is this imaginary scene and lay on the canvas. The master perfectly handed out the father's feelings and the repentance of the son. A young man is depicted standing on his knees in front of his parent, clinging to a shaved head to the father's body. Clothing his dangle and converted, she traces of the former shine and luxury, but it can be seen that the young man fell on the bottom of human sins and could not rise from there. His feet proceeded quite a few roads. Stopping shoes speak about it, they can not be called their shoes already - one shoe simply does not hold on his leg. The face of the son is hidden, his painter portrayed him so that the viewer himself guessed, what feelings can be displayed on the face young man.

The main figure of the work is father. His figure is slightly tilted to his son, he gently squeezes his son's shoulders, head slightly tilted left. The whole post of this old man talks about suffering and grief, which he experienced all those years until the son was absent in the house. With these movements, he will forgive his son, his return for the Father is great joy. Father looks at the crankshadovnnogo-wow and smiles. His face is serene and the old man is happy. The interior of the corner of the house: carved bas-reliefs, columns; The apparel of the elder: a red cloak and brocade sleeves in his slits - they talk about the good taste of the house, wealth and dignity of the gathered here.

With the rest of the four figures, the experts did not fully understand. Versions differ significantly. One of the assumptions is believed that a sitting young man with a mustache and in a silent hat, decorated with feather - the elder brother of the prodigal. Perhaps so, since his expression of a person speaks of condemnation and he does not participate in reconciliation of relatives.

The most remote figure is considered a female - barely distinguishable girl standing on the steps could be a maid in the father's house. Nearby With a swinging sinner, a man holds a staff, there will be a raincoat, he has a long beard, on the head of the turban. All his species says that he is a modet to be the same wanderer, but more is a cleaner and is demanding for its purposes. A look at this silent witness turned to a young man standing on his lap before his father. What kind of thought is the face of the wanderer, remains to guess.

Everyone canvas is written in Rembrandt's favorite reddish-brown of Nevye Tones. The artist managed to master the light accents on the faces of the people depicted and muffle secondary characters. Do not even know what is written in the biblical parable, seeing this great work, you can read everything on it.