A regular Rembrandt.

Title Rembrandt The Return of the Prodigal Son The hidden side of strength

Title Rembrandt The Return of the Prodigal Son The hidden side of strength

Your wasting your time, Rembrandt.

Rembrandt is a large impact crater on Mercury.

It's all right with me, Rembrandt.

Rembrandt is a propagandist in the Christian view.

Rembrandt van Rijn was buried in the Westerkerk on October 8, 1669.

Or because Rembrandt himself wants to add another meaning?

Earlier artists have approached bible stories in two ways, but Rembrandt does something new.

Or because Rembrandt himself wants to add another meaning?

Rembrandt The Return of the Prodigal Son Force of the Dark Side

This prize is awarded by Stichting Nederlandse Muziek, for songs that are distinguished by lyrics and original compositions.

This is Caravaggio's method, and Rembrandt learns from it

Part 2. The painter as prodigal Rembrandt had painted his first version of the parable 28 years earlier the conventional orgy.

Rembrandt's self portrait as prodigal son acknowledges his own extravagance, while making Saskia slightly behind him, looking calmly at the viewer the moderating force in the partnership.

The painter as prodigal Rembrandt had painted his first version of the parable 28 years earlier the conventional orgy.

But Rembrandt Scholz, researcher on ageing at the Max Planck Institute in Rostock, has also heard of people living to impressive ages in Central Asia.

But Rembrandt seems to be deliberately obscuring the meaning of the story and the picture. no religious symbolism, no divine presence.

Here, Rembrandt follows a familiar Dutch convention using the biblical scene as pretext, he ostensibly condemns the sins of the flesh while evoking them in lip smacking detail.

This is Caravaggio's method, and Rembrandt learns from it few figures harsh, spot type lighting main figures in the front foreground, where the viewer picks them out at once.

Sixteen years later, Rembrandt is ruined, his house and possessions have been sold, and the birth of an illegitimate child to his new partner has tarnished his private reputation.

The brightest star of the museums is the Städelsches Kunstinstitut with its rich collection of work from a good range of artists, including Renoir, Botticelli, Rembrandt and Rubens.

But why is he so anxious to involve us in a picture which was not intended for a church, and was still in his studio when he died?

Rembrandt gives the harlot the features of Saskia van Uylenburgh, his own wife!

Saskia dies in 1642. Sixteen years later, Rembrandt is ruined, his house and possessions have been sold, and the birth of an illegitimate child to his new partner has tarnished his private reputation.

Rembrandt pares the story down, and eliminates the kind of easy sentiment which might otherwise make it seem banal... ... and then goes even further by involving us, the viewers

Here, Rembrandt follows a familiar Dutch convention using the biblical scene as pretext, he ostensibly condemns the sins of the flesh while evoking them in lip smacking detail. But the picture acquires a new dimension... ... once we realise that it is a self portrait.