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Where? Room 254 of the New Hermitage building in the Hermitage Museum
When? 1668-1669
What do you see? Six(!) people in front of an arched doorway. On the left, an old man lovingly embraces a young and bold man who bows his head in humility. This is his son who returned after a long time. While the father is dressed in beautiful clothes, the son is not. He wears old clothes with holes in it, and his sandals are worn and broken. He still wears the dagger on his belt that he needed to defend himself in the outside world. On the right is the older son of the old man. Dressed in a red cloak, he has his hands folded while holding a cane. He looks at his younger brother with a mix of disapproval and envy. It is not certain who the other three people in this painting are. The woman in the middle background may be a sister or the mother of the prodigal son. The seated man with a mustache may be an older servant. On the top left, barely visible, is the silhouette of a female servant. Rembrandt uses light to emphasize the important aspects of the painting. The father and son are fully in the light, the older son is partially in the light, and the other people are in the darkness.
Emotions in this painting: Like few others, Rembrandt is able to convey the emotions of the subjects in his painting. He has lived an eventful life and knows what it is to miss his children. People recognize the emotions in this work and this is the main reason that many are deeply touched by this work. You can see the father’s love in the embrace, and the tenderness in the way he puts his hands on his son’s back. Looking at his face, we can identify multiple emotions at the same time: grief about his son’s past behavior, relief that his son is back, and the love in being able to embrace his son. Rembrandt is able to include multiple emotions at once in this painting, which is different from some earlier work that he did on this subject as illustrated in the two pictures below. The first picture is an etching from 1636 and the second one a drawing from 1642.

The parable of the prodigal son: Luke 15: 11-32 describes a famous story that Jesus told to the Pharisees about a rich man and his two sons. The parable illustrates the Christian ideal of mercy. It relates to Luke 15:7, where Jesus says that there is more joy in Heaven over one sinner who regrets his sins than over 99 good people who need no change. The parable describes that the younger of two sons asked his father for his share of the inheritance and left. He wastes his money and lives like a fool until he runs out of money. One day, he realizes how foolish he has been and decides to return home to his father and beg him for forgiveness. The father is very happy to get his son back and organizes a big party. The older son, however, is not so happy. While his younger brother was wasting his money and feasted with prostitutes, he has continued to work hard for his father’s business and has never gotten such a big party. The father tells the older son that everything he has is also owned by him, but that on this day he celebrates the life of his youngest son.
Backstory: This is the last major painting Rembrandt painted during his life, and it is probably the best-known of his religious works. The painting combines two elements from the Biblical story. The meeting between the father and the younger son, and the separate meeting between the father and the older son. According to Luke 15, the older brother is not present when the father is reunited with his youngest son. However, just like in the parable that Jesus told, it is not clear in this painting whether the oldest son will walk away from his younger son or will eventually welcome him back as well.
Moral message: Rembrandt did not use any clear symbols to convey the main message of this painting. He just shows the emotions of the father and the two sons, which convey two important Biblical lessons. The father shows what mercy is and the son shows that you can always ask for forgiveness for your mistakes. And the older son? He is not sure yet whether he can put his jealousy aside and forgive his younger brother.
The Prodigal Son by other artists: To better understand what makes this painting by Rembrandt so special, it is helpful to compare Rembrandt’s version with those of some famous colleagues of him. In 1654/1655, Guercino painted a colorful and idealized version of The Return of the Prodigal Son in the Timken Museum in San Diego. And between 1667 and 1670, Murillo created his version in the National Gallery of Art, and Jan Steen painted the same subject, on display in the Montreal Museum of Fine Arts. All versions have their unique elements, but none of them comes close to the powerful way in which Rembrandt incorporates human emotions.

Who is Rembrandt? Rembrandt Harmenszoon van Rijn (1606-1669) was a very talented painter from The Netherlands. He is considered as one of the most influential Baroque painters. Rembrandt had an eventful life in which he experienced many extreme situations of prosperity and adversity. Earlier in his career he was financially very successful, happily married, and got children. However, soon after, three of his children died in childhood, his wife died at age 32, and he faced financial difficulties. As illustrated by the current painting, Rembrandt was very good in painting human emotions. He painted many realistic self-portraits during his life in which his face reflects his state of mind and the events in his life. Rembrandt’s most famous work is The Night Watch in the Rijksmuseum in Amsterdam. However, he has also painted an occasional mythological work of very high quality, like The Abduction of Europa in the Getty Museum. ​

Fun fact: Look at the hands of the father in this painting. They are quite different. His right hand has a lighter color than the left hand. And, the fingers on the right hand are longer and thinner than those on the left hand. The right hand is feminine, and the left hand is masculine. The reason for these differences has been debated quite a bit over the years. One explanation is that the hands represent both the hand of the father and the mother of the prodigal son as God can assume both roles for us.

Where? Room 214 of the Old Hermitage building in the Hermitage Museum
When? Probably between 1481 and 1500.
What do you see? The Virgin Mary is nursing Baby Jesus. Mary looks dignified while breastfeeding. She has her eyelids lowered while looking at Jesus. She wears a bright red dress and a light blue mantle with orange-copper borders. She wears a transparent veil on her head, and the veil continues under her mantle to her right and left hand. Jesus has curly hair and looks a healthy chubby baby. He looks similar, though a bit younger, to Baby Jesus in Leonardo da Vinci’s Virgin of the Rocks in the National Gallery. Jesus greedily sucks the breast of his mother, while looking around to make sure he misses nothing that is going on in his surroundings. With his right hand he holds Mary’s breast, and in his left hand, he holds a goldfinch. Interestingly, Mary and Jesus have no halo around their head which is not in line with most paintings from that time but is not uncommon for Leonardo. In the background are two symmetrical arched windows through which we can see a mountain landscape and a blue sky with clouds.
Backstory: This painting is called the Madonna Litta because of a previous owner of the painting, the art collector, count Antonio Litta, from Milan, Italy. Tsar Alexander II acquired this painting in 1865 for the Hermitage Museum. It is not known when Leonardo da Vinci made this painting exactly as he liked to do multiple projects at once and he often took a long time to complete a painting. What is known is that, in 1479, he already completed the first sketch of a nursing Madonna (now in the Royal Library at Windsor, England). After that, he completed more preparatory works for this painting, including a sketch of the face of Mary which is now in the Louvre. It is assumed that Leonardo started this painting in 1481 and that he stopped working on it for a while because of other commissions.

Symbolism: The scene of the Virgin Mary breastfeeding Baby Jesus shows motherhood and motherly love. The blue mantle of Mary symbolizes the Church and her red dress is a symbol of the passion of Christ. The goldfinch is a symbol of the future crucifixion of Jesus. The mountain landscape in the background represents the greatness of the Creation of the world by God.
What is Madonna Lactans? The Virgin Mary breastfeeding Baby Jesus is the perfect example of motherly love. This theme is referred to as Madonna Lactans or Nursing Madonna. Madonna Lactans has been the subject of quite some paintings from the 12th century until the middle of the 16th century when the Council of Trent discouraged the use of nudity in religious paintings. Madonna Lactans was also a frequent theme in the Orthodox Art in Russia, and this theme is better known as Mlekopitatelnitsa. This may explain why the Russian Tsar Alexander II bought this painting for the Hermitage Museum.
Who is Leonardo da Vinci? Leonardo di ser Piero da Vinci (1452-1519) was an expert in a large number of different fields, including astronomy, geology, mathematics, music, and painting. He was born in Vinci, near Florence, and received his artistic education in the workshop of Andrea del Verrocchio. During that time, he already created Ginevra de’ Benci, which is in the National Gallery of Art in Washington, DC. After he finished his apprenticeship with Verrocchio in 1478, he moved to Florence, and in 1482 he moved to Milan where he stayed until 1499. There he worked on many different projects, and he often moved on to the next project leaving the previous one unfinished. Over the next decade, he lived in several different places in Italy. During this time, he created his famous Mona Lisa.  

Fun fact: There is a lot of debate whether this painting should be attributed to Leonardo da Vinci or one of his assistants. In 1482, Leonardo mentioned that he had completed one Madonna (probably the Benois Madonna, which is also in the Hermitage Museum) and had almost finished another one. This other Madonna can either be the Madonna Litta or the Madonna of the Carnation, which is in the Alte Pinakothek in Munich. The main reason that people doubt whether this painting is entirely created by Leonardo is the plain landscape, the somewhat dull outfit of Mary, the shadows in this painting, and the lack of details in her face (compare this to Leonardo’s drawing in the Louvre above). People argue that these aspects are not of the quality that we could expect from Leonardo. However, experts agree that the design of the painting and especially the complicated pose of Mary and Baby Jesus could well be from Leonardo. So, it is not unlikely that Leonardo has started this painting, but that an assistant, maybe Giovanni Antonio Boltraffio, finished the painting.
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