This picture is one of the last masterpieces painted by Rembrandt. On the canvas you can see a family filled with happiness and harmony. In fact, this painting was painted more likely not as part of a family chronicle, but as a pipe dream, since the people depicted on the canvas never came together.
The dominant color of the picture is red. A huge part of Magdalena’s dress — the artist’s daughter-in-law, the child’s shoe, and the red lips of all the characters — all stand out on the canvas, blending in with a beautiful golden hue. The beautiful face of Magdalena exudes a happy smile, and a look full of love is directed at the baby whom the woman holds with her hands. The woman’s hands are not detailed, they are drawn only by alternating light and dark spots. The baby on the lap of the mother with one hand leans against the woman, while the second hand grips the rattle. The smiling face of the child is turned directly to the beholder. The predominance of warm colors in the overall color palette of the picture conveys the comfort and warmth of the family hearth, warmed by love.
The copper-silver shade of Cornelia's dress, the girls on the left, sets off the right side of the picture. The basket in the girl’s hands is carefully drawn, and its contents become a receptacle for all the shades prevailing in the picture. The girl’s face is not finished, but the artist managed to portray her clear profile and a slight smile piercing her mouth. It is worth noting that despite the incompleteness of the work, the master left his signature on the basket. This indicates that this painting was written for a stay in the family, and not for sale.
Francois van Bylert is seen on the left side of the canvas - his clothes are completely invisible, so only hair stands out from the darkened background, framing a good round face. This picture masterfully conveys the joy and warmth of the family hearth from the unity of native people.
February Moscow Region