Rembrandt returned to the subject, "Presentation of Jesus in the Temple" at least 5 times from 1627 to 1654, two paintings, three etchings.
The subject is the biblical story of Simeon. Jesus was still an infant when Joseph and Mary took him to the temple to be presented to God. There they were approached by Simeon, a devout old man who recognised the child as the Saviour and praised him to God.
The most famous of these works was in 1631 when he was about 25 and still living in Leiden. Later that year he moved to Amsterdam. This painting is the high point of Rembrandt’s Leiden years: it represents the sum total of his artistic abilities at that
Most of his paintings are in very dark tones out of which his figures seem to appear to the foreground. Rembrandt was the master of dark and light and most of his pictures are made in this style of struggle between dark and light, night and day, sorrow and joy.
The key to the picture is how carefully and delicate the figures are painted, even those in the darkest part of the painting. The beautiful contrast, between the light on the central group and the soft dimness of the remoter parts of the cathedral, illustrates a style of work for which Rembrandt was very famous.
Our eyes are drawn to the very emotional Simeon, eyes aglow. As with the priest, his figures are often elongated in this period. The pictures is framed by the two figures behind Mary and Joseph in dark contrasting with Mary’s blue and Simeon’s shimmering robe.
Rembrandt adhered fairly closely to the biblical text. Simeon, with the infant Jesus in his arms, praises God with upturned face. To his left kneels the surprised Mary. Joseph holds the two doves he has brought along to sacrifice. Simeon praises Jesus as ‘a light to lighten the Gentiles’, which is why Rembrandt portrayed the Christ Child as a veritable source of light
However, the picture is not realistic of the temple. He depicts a Gothic Cathedral with the beggars looking at the Christ-child. They were beggars of Amsterdam, and the men seated in the wooden settle at the right were like the respectable Dutch burghers of his acquaintance. His style featured large cavernous spaces.
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