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The search for life in the picture:
The Return of the Prodigal Son
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A retrospective look at Rembrandt's work reveals the extent to
which he remained true to his beginnings. The history paintings, the
portraits, and also the few landscapes, are all structured as
happenings, as events. However, this character of an event changes:
it becomes illustrative itself. The path taken to reach this point
has been described with reference to the drawing. Its lines may be
experienced as a process, and thus lead the observational activity
to the performance of particular characteristic dynamic forms, which
correspond to the inner development of the happening. The later and
final works reveal how the bright-dark factor and pictorial colour
are also structured as such a temporary element. We are concerned
here with an observation of the large compositions, such as
Jacob Blessing the Sons of Joseph, in which the scene takes
on a quiet appearance as the old man gives his blessing. Reference
should also be made to The Conspiracy of Claudius for Julius)
Civilis, a fragment, the large conception of which reminds
one of the many-figured scenes from Rembrandt's early days and
middle period; here, however, the picture focusses completely upon
the uniting act of the conspiracy. Finally, attention should be
drawn to the last history painting, The Return of the Prodigal
Son.
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Jacob Blessing the Children of Joseph
1656
Oil on canvas, 173 x 209 cm
Staatliche Museen, Kassel
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The Conspiration of the Bataves
1661-62
Oil on canvas, 196 x 309 cm
Nationalmuseum, Stockholm
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The Return of the Prodigal Son
1669
Oil on canvas, 262 x 206 cm
The Hermitage, St. Petersburg
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The Return of the Prodigal Son (detail)
c. 1669
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The Return of the Prodigal Son
1636
Etching, 15.6 x 13.6 cm
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The Return of the Prodigal Son (detail)
c. 1669
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The Return of the Prodigal Son (detail)
c. 1669
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The Return of the Prodigal Son (detail)
c. 1669
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The picture was completed by another artist. The moment has been
selected in which everything taking place externally reaches its
culmination in the son's devotion and the father's forgiveness. The
entire series of late history paintings with one or two figures
should be seen in this context, among them Bathsheba with King
David's Letter and Aristotle Contetnplating a
Bust of Homer. Bathsheba is musing over King David's letter
summoning her to him, which has put her in the position of having to
decide whether or not to commit adultery. Aristotle, likewise
musing, has placed his hand on the bust of the blind poet. The
picture of Homer Dictating to a Scribe portrays the
consideration of words coming to mind - the gesture of his hand
refers to a corresponding drawing - while four individual pictures
of the Evangelists present variations upon this motif. The qualities
achieved by the older Rembrandt in these and other works will be
expounded here with respect to one painting, Isaac and Rebecca
(The Jewish Bride).
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Bathsheba at Her Bath
1654
Oil on canvas, 142 x 142 cm
Musee du Louvre, Paris
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Aristotle with a Bust of Homer
1653
Oil on canvas, 143.5 x 136.5 cm
Metropolitan Museum of Art, New York
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Homer Dictating to a Scribe
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Homer Dictating to a Scribe |
