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The Return of the Prodigal Son
c. 1661–1669 · peinture sur toile (painting on canvas) · State Hermitage Museum, St Petersburg
Sizes
image 18×23.3 in on a 18×24 in sheet
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All editionsAbout this painting
The son kneels with his shorn head against his father's chest, one foot bare, the sandal slipping from the other. The father's hands lie on his back, and they do not match. Henri Nouwen saw it: the left, on the shoulder, strong and muscular, the right smaller and softer; he touches the son with a masculine hand and a feminine hand. In Luke the father runs to him while he is still far off and embraces him before the son has said a word. Nothing is asked first. At the right the elder brother stands in red, hands clasped, looking down. The Hermitage speaks of the broad, sketchy brushstrokes of Rembrandt's late style, and records the purchase in Paris for Catherine the Great in 1767. The son's bare sole is turned toward you, worn from the road.
Sources: State Hermitage Museum object entry, Google Arts & Culture · Google Arts & Culture, 'Where to Catch Rembrandt Around the World' · Rijksmuseum, RP-P-OB-164 · Henri J. M. Nouwen, The Return of the Prodigal Son: A Story of Homecoming (New York: Doubleday, 1992); read verbatim as reproduced at 'My Inward Journey' · Henri J. M. Nouwen, The Return of the Prodigal Son: A Story of Homecoming (New York: Doubleday, 1992); read verbatim as reproduced by the National Storytelling Network · Juliet Benner, 'A Meditation on Rembrandt's Return of the Prodigal Son', Conversatio Divina, 1 October 2003 · Luke 15:20, Douay-Rheims (Challoner)
And rising up, he came to his father. And when he was yet a great way off, his father saw him and was moved with compassion and running to him fell upon his neck and kissed him.
Luke 15:20 · Douay-Rheims (Challoner)