Rembrandt van Rijn’s piece The Tribute Money exemplifies the idea of being sacred art meant to glorify Christian art through the use of religious motifs, and visual elements. These intended elements used by the artist are not only intended to lift the viewers’ mind on a spiritual level but also are used to worship certain figures within the image. Rembrandt uses high contrast, movement, lines, and motifs to capture the importance of the individuals and the narrative of the painting.
We can see that the central figure is emphasized using the technique of Tenebrism as the main figure is dramatically illuminated by light while other figures and the rest of the background are shrouded in darkness. The violent contrast of both the lightness and the dark contribute to how the figure is to be interpreted in a religious way. The use of light as a way to emphasize the figure can be further detected as the artist has depicted the figure as having a glowing ray of light around his head.
Though this Rembrandt has incorporated the symbolism of religious enlightenment as this crown of light is commonly used in religious paintings. The use of this religious symbol within the painting, allows us to come to the conclusion that this is a sacred figure and that the image is attempting to glorify him. In conclusion, the use of distinct lighting within the painting it allows Rembrandt to bring attention to an intense religious narrative that has major significance within a religious context.
The lighting within the painting is significant as it helps in emphasizing the figures importance in the narrative. Rembrandt has used the technique of tenebrism not only to convey mood but also to highlight the relevance of the figures. Within the painting, the supporting characters are distinguished by them being cast over by shadows not only making them subdued, but also making them almost integrated with the background. This, as a result makes us assume that these figures are merely observing the scene below and those are not significant in regards to the context of the story.
The supporting figures seem to be witnessing the discussions below most notably the form that is framed by the window in the upper right corner of the painting as well as the figure on the stairs, both appear to be peering down at the scene below becoming spectators to the entire scene unfolding before them. They are not the only bystanders, as two figures seem to be approaching the scene by an implied set of stairs in the background. By having these sets of people who are observing the pivotal scene.
It allows us as the viewers to comprehend the figures prominent position or role within the narrative of the image. An important aspect of this image that can be linked to the theme is the mannerisms of each figure. The significance that these characters have within the story, as well as the roles that they serve, is conveyed most intensely through facial features and gestures. The type of mannerisms in which Rembrandt conveys within the painting is seen most visibly as the central figure is looking slightly above the figures that stand before him.
The figure also stands with his hand raised in almost a blessing gesture, asserting that he is a person of religious importance who has influence over the assembly. The three figures that stand before him further assert this idea of having their backs turned to the viewer. Them being the only figures not engaging with the viewer in a visual way, implicates that Rembrandt wants the viewer to focus on the central figure while considering that the other figures are significant in the sense that they are a part of the bigger narrative, but in comparison to the main figure not as relevant.
The importance that this focal figure holds within the narrative can be seen in the way he is visually depicted by Rembrandt within the painting. The representation of the focal figure shares similarities to common portrayals of Jesus. The conventional image of Jesus includes a full beard, long hair, and long robes, which can directly correlate to the appearance of the figure within the painting that has all these attributes. This connection can either be interpreted as the artist equating the figures’ biblical significance.
Additionally, by assuming that this is a depiction of Christ, we can identify the other figures as being his followers. The twelve figures that closely surround the central figure of Christ, we can assume are the twelve apostles, which can further emphasize the religious significance that the individuals have within biblical narratives. Several other aspects that are seen within the composition of the painting also help to emphasize the focal figure.
The architecture depicted in the background of painting implies that Rembrandt has used inspiration from the past, making the meaning of the image even more profound and glorified. Within the background, we can see a column like structure that not only draws the viewer’s eye vertically downwards towards the main figure, but also implicates that the artist was attempting to integrate classicism by referencing architecture from the classical world. The most apparent structure is the column, which is a visual representation of spiritual stability and logic.
Rembrandt basing a majority of the scene around the base of the pillar is meant to communicate through visual elements, the classical values of the religious faith. An additional observation that can support the concept of Rembrandt wanting to emphasize his figures is the inclusion of the character holding a coin. The supporting figure that is in the foreground holds the coin in such a distinct way, which could imply that this figure is also prominent within the story.
The coin is seemingly being presented to the main figure as they individuals are in close proximity of each other. The individual holding the coin is standing directly beneath the central figure’s raised hand, which can suggest that he is being summoned to provide the figure with the coin. The emphasis on this particular object not only helps to illustrate its biblical significance but also supports the continuous narrative of the painting. The continual visual line that can be seen within the image provides an overall sense of motion or movement in the painting.
The lines that occupy the space form a continuous loop within the composition that makes the piece feel closed off and more intimate. The angle of the staircase that continues onto the balcony conveys a sense of visual movement and is grounded by the pillar. The curving staircase leads the viewer’s eyes upwards to the top of the pillar where it is then led downwards to the figure of Christ at its base. The column not only creates a visual path that establishes the composition, but it also implies ascending to heaven as the structure extends upwards towards the sky.
The interior, therefore, implicates a spiritual atmosphere and perspective, as it establishes the figure of Christ as being the focal point. The way that the figures occupy the space is another detail that enhances the subject matter of the painting. The majority of the figures being concentrated at the bottom of the piece carries a sense of secrecy, that the viewer is witnessing something not meant to be seen. The painter has made use of drawing the viewer into the scene by making the figures occupy the positive space while being tightly onfined, making the composition as a result very intimate. The relevance that this visual element has with the theme of the painting is that it allows the main subject to become distinguishable within the composition, and in being a closed composition; it allows the viewer to instantly draw their attention to Christ. The use of light within this painting not only implicates the spiritual grandeur that the narrative has, but also places emphasis on the miraculous presence of the figure. The spectrum of the value indicates a light source that is being beamed on Christ himself.
This intensity of the light streaming into the scene emulates that of a church window, as it seems to be the only light source within the composition. The painter having implied that the light is coming from a window is creating a source of light that is more direct, creating intense shadows and contrast. The light that streams into the interior of the painting has a holy or supernatural quality, which enhances the narrative. Additionally, the strong light flowing into the building also has enhanced the artists’ use of gold within the contours of the painting where it seemingly represents the divinity of both the figures and the structure.
In conclusion, Rembrandt has indicated the importance that his painting has within the religion by accentuating its content using both religious symbols and formal elements. By centering the painting on this important scene Rembrandt has through his own self-interpretation, illustrated Christianity concepts and values. It is by making the content of the painting The Tribute Money religious that it can be analyzed as an image that has biblical relevance and importance.
