Bible Art
The Parable of the Rich Fool
Artist: James Tissot
c.1886-94
Painting
Tissot painted the picture "The Parable of the Rich Man" as an illustration for 'The Life of Christ', c.1886-94. The prevailing color of this fine art print is green and its shape is portrait. This art piece is located in Brooklyn Museum of Art, New York, USA.
The Parable of the Rich Fool AKA The Money Changer
Artist: Rembrandt
1627
Painting
The Parable of the Rich Fool, also known as The Money Changer, is an oil painting on canvas of 1627 by Rembrandt, now in the Gemäldegalerie, Berlin. The model for the figure is said to have been Rembrandt's father.
The room is dark, illuminated by a single candle. An elderly man sits at a desk overloaded with books and papers, some written in what appears to be Hebrew script. The man, a pince-nez perched on his nose, thoughtfully examines a coin. The hand holding the coin — with fingers made partially translucent by the candle's light — blocks the viewer from seeing the candle directly, but its glowing light illuminates the man, a small area of the desk and other elements in the darkened room.
All inessential elements are cloaked in shadows. On the desk are a gold-weigher's scale with a box of weights, as well as chaotic stacks of books and papers, with a huge (account?) book open on the man's right, through which large Xs have been marked through some entries. The man's face is brilliantly lit, and we see virtually every detail of his aged, wrinkled face — including his reddened nose, right ear and eyelids, as well as the soft shadows produced by his glasses — as he gazes at the coin in his hand. Other coins on the desk glimmer in the reflected glow of the candle's light, as do the epaulets on the man's shoulder. The fancy ruff around his neck also glows in the light, which then reflects even more light onto the man's face.
Who is this man and what does this painting say to its viewers? The painting resists characterization and it leaves many questions unanswered — even the title and subject of the work is disputed. Some scholars argue that it is a depiction of the rich fool parable in Luke 12:16-20, but the Gemäldegalerie in Berlin (correctly) entitles it, "The Money Changer" (Der Geldwechsler).
Parables can create vivid pictures in the mind, but, like this painting by Rembrandt, those pictures are often enigmatic and sometimes puzzling (e.g., one meaning of the word used in Hebrew for parable, mashal, can be "riddle"). For example, William Blake compared his art to the parables and fables of Aesop and declared: "The wisest of the Ancients considered what is not too Explicit as the fittest for Instruction because it rouses the faculties to act." Or, as Dodd put it, a parable leaves "the mind in sufficient doubt about its precise application to tease it into active thought." That aspect of parables can give them tremendous power to affect their hearers and readers in numerous ways — challenging them to change their attitudes, beliefs and behaviors.
The lighting spotlights the main character and the psychological depth opened up by Rembrandt's brilliant manipulation of light and shadow (chiaroscuro) is seemingly bottomless and, along with the man's seemingly introspective detachment, also creates a sense of mystery. That is, we get a strong sense of something deeply serious going on in the mind of this man, but the precise nature of his thoughts and feelings is, at best, only darkly implied.
Rembrandt uses chiaroscuro both as a dramatic means of portraying a scene and as an effective way of suggesting inner character with psychological insight subtly portrayed with a sense of mystery. The rays of light are reflected in various ways and sundry places, just as parables are reflected in different ways in different contexts and heard in numerous ways by various hearers. Rembrandt illuminates some objects clearly, while other aspects remain murky or obscure, placed deliberately in the shadows, creating uncertainties and provoking debates.
In a similar way, the parables of Jesus illuminate some things as clear as day. Other aspects become clearer as we learn more and more about the first-century contexts in which Jesus created and his followers preserved, transmitted and transformed his words. Whereas still other elements — because of the nature of the parabolic word — remain deliberately in the shadows, provoking our responses as we endeavor to understand Jesus' parables more clearly in his context and ours and seek to change our attitudes, beliefs and behaviors accordingly.
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