The subject for the painting is taken from the Bible, The Gospel According to Luke, XV: 20-24. This theme has been used by Rembrandt in several of his other works as well. Through the figure of the old man and his suffering and the son, Rembrandt has tried to express an array of complex emotions such as charity, love, regret and repentance. This painting is a representation of Rembrandt’s mastery over human psychology.

In his painting, Rembrandt has shown the concept of mercy in a unique manner. It surpasses the works of other Baroque painters due to the way it depicts religion and human emotions. Rembrandt has made use of a simple setting but expressive coloring to add impact to his work.

The focal point of the painting is a father and his son who are framed against a dark surface. The garments worn by the son are ragged while the sleeves of the old man are ochre. The cloak worn by the old man is a combination of ochre and scarlet which form a harmony. The son, who has faced ruin and who was outcast, returns to his father’s house. His father, who is dressed in rich robes, hurries to meet his son.

A kind of solemnity prevails throughout the painting which gives the figures a universal character. While the son repents his deeds, the father showers his love on the prodigal son. On the whole, the painting represents the darkness of human life which is illuminated with mercy and love.

The Three Crosses was created by Rembrandt in 1653. In this print, Rembrandt used the drypoint and burin technique. The dimensions of the print are 38.5 x 45 cm. The Three Crosses is currently housed at the Rijksmuseum in Amsterdam.

Although The Three Crosses is a print it is as powerful as a painting. It depicts the suffering borne by Christ at the time of his crucifixion at Golgotha. Strong rays of light pierce through the darkness and focus on Christ, the two murderers who were crucified along with him and the crowd that had gathered around.

Rembrandt made a number of versions of this print. Prints are usually produced in a series of states. The first impression of a print is called the first state. If the drawing or text on the copperplate changes then the subsequent impression is called the second state. The one that is at the Rijksmuseum is an impression of the third state.

Bathsheba at her Bath was painted by Rembrandt in 1654. This is an oil on canvas and its dimensions are 56″ x 56″. The painting is displayed at the Musée du Louvre in Paris.

Bathsheba was the wife of Uriah, who was a general in the army of King David. The painting shows Bathsheba at her bath. The model for the figure of Bathsheba was Rembrandts companion, Hendrickje Stoffels. This painting is the last nude painted by Remrandt. Each fold of skin is portrayed in the painting. The figure has an erotic quality about it which is accentuated by the almost transparent drapery and the delicate jewelry. However, there is a contrast between the sensual ambience and the sadness that can be seen on the young woman’s face. The high point of the painting is the expression on Bathsheba’s face where she is gazing into space with a look of resignation and defeat.

The warm tones of gold and copper used in the painting were inspired by Venetian masters like Titian. This work by Rembrandt is among his most mature works and he has used his skills to depict the play of light. The female nude is set against a backdrop of rich brocade. There is a sharp contrast between the dewy beauty of Bathsheba and the shaded face of the old servant, who is washing her feet. The richness of hues and the subtlety of emotion make this painting a masterpiece.

The Jewish Bride or Portrait of Two Figures from the Old Testament as it is also known, was painted by Remrandt in the year 1667. This painting is an oil on canvas. Its dimensions are 121.5 x 166.5 cm. It is on display at the Rijksmuseum in Amsterdam.

The painting shows a well-dressed man and woman in a dark room. The man has his arm around the woman’s shoulder and the other hand on her breast. The woman is touching the man’s hand with her fingertips. Both the figures are staring ahead as if lost in thought. Next to the woman you can see a plant inside a pot. The name, The Jewish Bride, became popular in the 19th century, when an art collector identified the subject of the painting as that of a Jewish father giving his daughter a necklace on the day of her wedding. Although since then this interpretation has been dismissed, the painting is still known by this title.

Vincent van Gogh was so impressed with this work that he said he’d exchange ten years of his life for the chance to gaze at this masterpiece for two weeks.

Christ in the Storm was painted by Rembrandt in 1633. The medium of the painting is oil on canvas. The painting measures 160x127cm. It was housed at the Isabella Stewart Gardener Museum in Boston, Massachusetts, from where it was stolen on March 18, 1990. This work is also known by alternative titles like The Storm on the Sea of Galilee and Christ in the Storm on the Sea of Galilee.

The painting shows the miracle performed by Jesus where he calmed the waves on the Sea of Galilee. This refers to the fourth chapter of the Gospel of Mark in the New Testament. This painting is unique as it is the only seascape ever painted by Rembrandt. In the painting you can see a boat with fourteen people in it. Of these twelve are the disciples of Jesus, the thirteenth person is Jesus and it is often believed that the fourteenth figure is Rembrandt himself.

On March 18, 1990, thieves, who had disguised themselves as police officers, broke into the Isabella Stewart Gardener Museum and took off with Christ in the Storm and 12 other works. This was regarded as the biggest art theft in American history and remains unsolved till date. Strangely enough, the empty frames of all the paintings can still be found on display at the museum due to the stringent guidelines laid down in Gardner’s will which state that no changes can be made to the collection.

The Night Watch shows 34 people – including 18 shooters and 16 other figures. The foreground shows the captain and his lieutenant, but the overall screen layout is dominated by two figures in brightly lit yellow clothing: A girl in the middle ground and the lieutenant in the foreground.

Two people in the painting are particularly exposed: One is the physician Dr. Nicolaes Tulp, who explains the skeletal muscles to the spectators. The other is the dead: Adriaan Adriaanszoon. A a violent street robber, who had been hanged for his crimes. The spectators are Jacob Jansz Colevelt, Adrian Cornilsz Slabberaen, Mathys Evertsz Calkoen Jacob Jansz de Witt, Jacob Dielofse Block and Frans van Loenen as suggested by both the order for the painting and the hand-held paper in the middle. Anatomy demonstrations in the 17 Century were a social event: they were held in so-called anatomical theaters for a paying audiences, consisting typically of guild colleagues, students and dignitaries.

Rembrandt: Belshazzar's Feast, oil on canvas, 1635, today: National Gallery, London

The Feast of Belshazzar or more often Belshazzar’s Feast is a famous painting by Rembrandt based on the Bible story of the Babylonian ruler Belshazzar. The latter was predicted his impending death and the ruin of his empire by a mysterious handwriting on a wall. Various artists tried theirselves with this very theme. The painting to be seen here was executed by Rembrandt in about 1635. Belshazzar’s Feast is signed “Rembrandt f. 163rd”, but the last digit is not legible. The painting Belshazzar’s Feast is not less than 1.67 x 2.09 meters tall, executed as oil on canvas and is exposed today at the National Gallery in London.

The story of Belshazzar is described in the Old Testament of the Bible (The Feast of Belshazzar, Daniel 5:25). Belshazzar is celebrating a grand party. At this occasion he would use vessels, which his father had captured in the temple of Jerusalem, while a ghostly writing appeared on the wall of his palace. Immediately he summoned his scribes, but they just proved being incapable of deciphering the text. However, the Prophet Daniel, laid in chains, was called now and read: מנא ,מנא, תקל, ופרסין (Mene, Mene, Tekel u-Pharsin). Daniel and interpreted the writing on the wall as a prophecy for fall of Belshazzar and his kingdom. Indeed, in the same night Belshazzar was slain by his servants.

The literal translation of Mene, Mene, Tekel u-Pharsin from Aramaic is unclear. Daniel interpreted the oracle with the help of similar-sounding Aramaic verbs: counted, weighed and divided. Daniel interpreted as follows:
God hath counted thy kingdom, and end it
You have been weighed and found being to light
Thy kingdom will be divided and given to the Medes and Persians.

Rembrandt captured in his painting the moment as the mysterious handwriting appears on the wall. Despite the festive situation, the terrified faces of those present and the horror of Belshazzar’s dominate the artwork. The king obviously does not understand the lettering; nevertheless he has a strong feeling that it could mean no good. While other painters skipped in their paintings of Belshazzar’s Feast usually the presentation of the mysterious script, – no one knew exactly how it write it – Rembrandt took up the challenge. Probably Rabbi Manasseh ben Israel, who had been portrayed by Rembrandt in 1636, helped Rembrandt in this regard. The script is written in Hebrew letters andto be read from the right to the left, and especially to read from the top to the bottom.