A whisper of light illuminates four figures, cloaking them in tenderness and warmth, and there arises a sense of the subtle anticipation of early morning, the relief that accompanies forgiveness, and the graciousness that rewards gentle touch. "The Return of the...
[more]A whisper of light illuminates four figures, cloaking them in tenderness and warmth, and there arises a sense of the subtle anticipation of early morning, the relief that
accompanies forgiveness, and the graciousness that
rewards gentle touch. "The Return of the Prodigal Son" exemplifies the human compassion and masterful storytelling that have drawn unbelieving eyes to Rembrandt for centuries.
His earliest paintings are sharply lit, small, and
feverishly realistic. Scenes from the Old Testament
were among his favorite subjects, but his paintings were shockingly different from traditional Christian art. Rather than emphasizing doctrine, Rembrandt's scenes place character and drama in the foreground; his great love of Biblical stories was based on tangled familial relations. In order to capture the cherished characters of these tales, he went directly to their living descendents. Often
he staged and sketched scenes in the Amsterdam
ghettos using Jews as his models.
For Rembrandt, tangled relations were nothing new. His capacity for tenderness conflicted with a stubborn callousness, which revealed itself in bitter battles with friends and family. He dealt with financial matters irresponsibly and lost money as quickly as he earned it. He knew Dutch courtrooms like the back of his hand. He antagonized patrons by insisted on handling commissions his own way. But the worst example of his vindictiveness is his treatment of his child's nurse, a woman with whom he had a seven-year affair. Pregnant, the nurse took Rembrandt to court in an attempt to collect owed dues; out of revenge, the artist manipulated the woman's brother into testifying on his behalf and the nurse was sent to a penal institution for five years. After a painful battle, her friends had her released but she died soon after.
Sometimes Rembrandt's not-so-pious side lingers in his paintings as well. "The Raising of the Cross" (1633) depicts a small group of followers solemnly lifting their crucified leader; however the central figure, his face bathed in holy light and hovering above Christ's bloody feet, has the face of Rembrandt himself. Is this evidence of Rembrandt's humility under God or his supreme artistic cockiness?
His motives for other paintings are equally ambiguous. For the group portrait, "The Night Watch," members of a military company contributed equal pay, but Rembrandt painted some in shadow, some hidden by overlapping, and a lucky few in direct light. Artistically, the painting itself is beautifully rendered and shows an unprecedented dramatic presentation. However, the participants were reportedly quite dissatisfied. It's hard to know whether Rembrandt was simply following an innovative vision or being willfully dismissive of his subjects.
But despite the criticismsnRembrandt's reputation remains essentially unscarred. He is ultimately celebrated for his depictions of an emotionally accessible human story.
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