You can help expand this article with text translated from the corresponding article in Dutch. (January 2023) Click [show] for important translation instructions.
Machine translation, like DeepL or Google Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia.
Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing Dutch Wikipedia article at [[:nl:De verloren zoon in een herberg]]; see its history for attribution.
You may also add the template {{Translated|nl|De verloren zoon in een herberg}} to the talk page.
The Prodigal Son in the Brothel or The Prodigal Son in the Tavern or Rembrandt and Saskia in the parable of the prodigal son (German: Rembrandt und Saskia im Gleichnis vom verlorenen Sohn)[1] is a painting by the Dutch master Rembrandt. It is now in the Gemäldegalerie Alte Meister of Dresden, Germany. It is signed "REMBRANDT F.".
It portrays two people who had been identified as Rembrandt himself and his wife Saskia. In the Protestant contemporary world, the theme of the prodigal son was a frequent subject for works of art due to its moral background. Rembrandt himself painted a Return of the Prodigal Son in 1669.
The left side of the canvas was cut, perhaps by the artist himself, to remove secondary characters and focus the observer's attention on the main theme.
Painting materials
The pigment analysis[2] shows Rembrandt's choice of the usual baroque pigments such as red ochre, lead-tin-yellow, madder lake and smalt and also his elaborate multilayer painting technique.[3]
^Kühn, Hermann. ‘Untersuchungen zu den Pigmenten und Malgründen Rembrandts, durchgeführt an den Gemälden der Staatlichen Kunstsammlungen Dresden’, Maltechnik/Restauro, issue 4 (1977): 223-233
