The Departure of the Prodigal Son 

Editor: Here we have "The Departure of the Prodigal Son" by Karel van Mander I, a pen, ink and charcoal drawing. I’m immediately struck by how theatrical it feels – almost like a stage play about to begin. What do you make of it? Curator: It does have that dramatic flair, doesn't it? For me, it whispers of both promise and premonition. I imagine van Mander was really digging into the parable itself – the son’s bright clothes, his eager stance… contrasted with the father's heavy robes and slightly stooped posture. Do you see that weary sadness in him? Like he already knows what’s coming? Editor: Definitely, it's almost like the dad is reluctantly releasing a bird from a cage, isn't it? A little heart-breaking. Curator: Exactly! And isn’t it interesting how Van Mander has set the stage? It's a courtyard of sorts, but also this gallery filled with classical statues...like, where is he actually going, we may ask ourselves, and towards what idols will he aspire to? What could that indicate? Editor: It does suggest that the story is larger than just one person, perhaps pointing to broader societal issues around morality? I hadn’t picked up on that, thanks! Curator: And then there's the dog… the sleeping dog on the right is particularly telling; he’s also being left behind... What a symbol. Editor: The sleeping dog really completes the feel of abandonment. The piece feels surprisingly modern for, say, 1610? Thanks for sharing your perspective! Curator: My pleasure. It’s in those details, in the contrasts and careful placements, that Van Mander makes the old story suddenly very… human, wouldn’t you agree? And yes, its "modernity" just illustrates how certain human tendencies echo down the ages, if you allow yourself to connect to the parable on your own terms.