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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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