The Return of the Prodigal Son
The painting of the Prodigal Son was realized by Rembrandt in the last years of his life. These last years were difficult for him, full of torment. In both his unfinished painting of Simeon and the Christ Child and that of the Prodigal Son, there are two factors that are closely related to this last stage of the painter’s life: his physical blindness and profound interior vision. In both paintings, there is a certain interior light that manifests a tender beauty. This interior light was hidden for a long period of time from the eyes of the artist. With the passing of the years and after much suffering, Rembrandt discovered this light in his interior.
Rembrandt as a youth was very prideful for many years. He travelled to faraway countries and spent a fortune on pleasures. At that time Rembrandt possessed many of the prodigal son’s characteristics: arrogance, rebellion, sensuality. The short period of success, fame and riches which he passed through was followed by a period of suffering, disgrace and disaster.
THE YOUNGER SON LEAVES HOME
The title of the painting is, “The Return of the Prodigal Son.” The fact that he returns implies that he must have first left. The leaving of the son is an offensive act. It implies a rejection of his home and a desire for rupture with all that is traditional. St. Luke describes it in this way, “He left for a distant country.” The phrase “distant country” refers to a world that is very different from the one he previously knew. It means a world where everything that at home was considered to be sacred is ignored.
The artist felt identified in his personal life with the younger son. This discovery took place later when he realized that he was walking on a path of daring rebellion. He preferred the distant country to his own home.
To leave one’s home is to deny the reality that belongs to God and it means to ignore the truth that God is the one who made my life. To leave one’s home means to be without a place of security, love, and shelter. The home is the place where one hears the voice of the Father, always full of words of tenderness and affection. It was this same voice that gave life to the first Adam and which spoke to Jesus, the second Adam. This same voice continues to call all men. It is the voice of our heavenly Father. The children who listen to this voice find a source of peace and of love. The Loved One, that is to say Jesus Christ, can face any situation, no matter how terrible, such as, for example suffering, persecution, torture, death, etc. The Loved One never doubts that the love which is given Him is stronger than death.
Upon contemplating the figure of the older son, we can imagine what he is thinking. Without doubt it is the return of the younger son. The central focus of the painting is the return of the younger son, but this scene does not occupy the center of the painting. It is situated slightly to the left. On the right side, the older son is standing tall and arrogant. There is a space between the Father and the older son that indicates the difficulties which arise. The Father is leaning over the son who has just returned. The Father’s gestures, the warmth and light that are perceived in his face communicate tenderness and love. On the other hand, the older son is in the shadows with a cold expression. Here can be seen the different attitudes of the figures.
Given the terrible life that the younger son had led, the bitter attitude of the older brother is surprising. All the sins of the younger son are presented in a visible way: he wasted his money and his time, he followed a path of lust and greed. His own family and those who knew him were well aware of the type of life that he had led. The older son is slightly more difficult to understand. He lived at home, was obedient, obliging, and admired by everyone. However, when he sees his Father’s joy upon the return of his brother, his attitude changes radically. The older brother now becomes arrogant, selfish, prideful and severe. The sins which affect the older son are invisible, sins of the heart, but they are just as dangerous.
Rembrandt’s painting illustrates the tenderness and mercy of the Father. The painter portrays this moment well with the expression on the Father’s face, his posture, the colors of his clothing and the calm gesture of his hands, placed on the shoulders of his younger son. Various stories merge together here: that of Rembrandt, of humanity, and of God. That which is divine and that which is human are reconciled in this embrace. The only authority that is communicated is the authority of forgiveness.
The heart of the Father that beforehand was so greatly pained by the evil path that his son was following now does not take these sufferings into account. The love of the Father conquers many years of sorrow. His heart had been left open in the hope that his son would return. This is the power of divine love that loves unconditionally and that conquers all pettiness of human love. The central focus point of Rembrandt’s painting is located at the hands of the Father, where the light is strongest. There forgiveness and respite are united both for the Father and for the son.
The invitation to dine and celebrate is an invitation to enter into a personal and intimate contact with God. In the parable of the prodigal son, Jesus is telling us that the Father wants us to accept this invitation. The celebration is part of the kingdom of God. God not only offers us His forgiveness, reconciliation and healing, but also wishes to give us all these gifts as a sign of His joy towards all those present. Jesus expresses this joy when He says, “Just so, I tell you, there will be more joy in heaven over one sinner who repents than over ninety-nine righteous persons who need no repentance.” (Lk. 15:7)
©HM Magazine No.128 - January/February 2006
