Kenneth Boa writes:
Rembrandt Harmenszoon van Rijn, known to the modern world simply as Rembrandt, knew of what he painted. One of the most famous artists in post-Reformation Europe, Rembrandt was raised in a devoutly Reformed home in Holland. By the age of 25, his portraits were among the most acclaimed in Holland. While he painted secular subjects as well as biblical ones, his art gradually became separated from other Protestant and Catholic painters who portrayed biblical and ecclesiastical scenes from an unrealistic, mythological perspective.
Rembrandt’s deep theological understanding of the helplessness of man before a holy God pushed him to paint realistically. His own wife and son, as well as street people and beggars, became his models for paintings with biblical themes. He went so far as to include himself as one of the enemies of God in his painting of The Raising of the Cross. He painted himself into this piece as one of those lifting the cross, helping to crucify his own Savior. The painful, sinful, and needy state of humanity—indeed, the state of his own condition—he refused to conceal.
Toward the end of his career, he was confronted even more with his own sinfulness. When his wealthy wife died, and he was threatened by her will from losing her estate if he remarried, he instead took a common-law wife, his housekeeper, and even bore a child with her. His immoral actions brought him into conflict with the Reformed Church in Amsterdam. This fact, plus financial difficulties ultimately ending in bankruptcy, again brought into stark relief his status of a sinner before God.
When Rembrandt painted one of his last great works in 1662, Return of the Prodigal Son, he painted his own confession of faith that prodigal sons of a heavenly Father can only find forgiveness and reconciliation under the gentle touch of his hand. When the father of the prodigal received the kneeling penitent in Rembrandt’s painting, Romans 5:8 was illustrated—“God demonstrates his own love for us in this: While we were still sinners, Christ died for us.” If it takes a prodigal to paint a prodigal, it surely takes a returned prodigal to paint a reconciling father. While not everyone can apply paint to canvas with the skill of Rembrandt, our very lives are canvasses nonetheless. God would paint his reconciling message in us for all the world to see.
The peace of the prodigal son is ours in Christ. The reconciling love of the Father is ours to receive and share with others. May God help us to live in the benefits of his peace, and be ambassadors of his reconciliation to a yet-to-return prodigal world.