Let the Little Children Come to Me

Rembrandt’s “Let the Little Children Come to Me” (1620): An Exploration

The Artist: Rembrandt van Rijn

Rembrandt Harmenszoon van Rijn stands as a monumental figure in the history of Western art. Born in 1606 in Leiden, Netherlands, he is celebrated for his profound technical mastery and psychological insight. Over his prolific career, Rembrandt transitioned from the influence of his earlier teachers and contemporaries to a mature style uniquely his own. His oeuvre includes portraits, landscapes, genre scenes, and most notably, biblically themed works that reflect his personal engagement with faith and humanity. Revered in his own time and even more so posthumously, Rembrandt's approach to light, shadow, and the human soul marks him as perhaps the quintessential painter of the Dutch Golden Age.

Historical Context of the Artwork

“Let the Little Children Come to Me” was painted in 1620, during Rembrandt's formative years as an artist. The early 17th century was a period of religious change and debate across Europe, deeply affecting the Netherlands. The Protestant Reformation had taken root, and the Dutch Republic, fiercely independent, was both religiously and artistically vibrant. Art served not only as decoration but as a means of spiritual instruction and inspiration.

At this time, depictions of biblical stories were popular in the Netherlands, serving both private devotion and public education. Artists like Rembrandt explored familiar episodes in new, personal ways, contributing to the democratization of religious imagery. Rembrandt’s early works already hint at his gift for empathy and innovative storytelling, qualities central to his later masterpieces.

Religious and Cultural Significance

The subject of "Let the Little Children Come to Me" is drawn from the New Testament, specifically the Gospel of Matthew 19:14: “But Jesus said, Suffer little children, and forbid them not, to come unto me: for of such is the kingdom of heaven.” In this scene, Christ welcomes and blesses children, contrary to his disciples’ initial reluctance to let them approach.

This passage resonated strongly in Protestant circles, who saw it as an affirmation of universal grace and the innate value of every person, regardless of age or status. By choosing this subject, Rembrandt underscored themes of compassion, inclusivity, and divine love. The painting would have invited viewers to reflect on the nature of faith—a faith exemplified by children’s innocence and trust.

Symbolism and Iconography

Rembrandt infuses his composition with potent symbolism and subtle iconography. Christ occupies the central position, depicted with an open gesture, reinforcing both his accessibility and his role as redeemer. The children, with their varied expressions and postures, represent untutored innocence and humility. Their mothers, often depicted nearby, speak to the nurturing dimension of faith and the importance of community in spiritual development.

The apostolic figures gathered around Jesus provide a foil, their initial hesitance illustrating common adult reservations or lack of understanding. Their eventual acceptance underscores the necessity of childlike openness in approaching the divine.

Soft, enveloping light serves as a metaphor for divine grace, tenderly illuminating Jesus and the children, emphasizing their spiritual centrality. Objects like lilies or doves, if present, symbolize purity and peace—qualities traditionally associated with Christ’s blessings.

Artistic Techniques

Even in this early work, Rembrandt demonstrates mastery over oil on canvas. His handling of light—what would later be termed chiaroscuro—is evident, lending a three-dimensional, almost sculptural quality to the figures. The interplay of shadow and illumination not only creates visual drama but also guides the viewer’s focus, directing attention to Christ and the children.

Rembrandt’s brushwork, though still developing at this stage, is already expressive. He uses fine, layered glazes for skin and textiles, capturing textures and subtle tonal variations. His understanding of anatomy and gesture imbues the scene with psychological realism; each figure is individualized, contributing to the narrative.

Compositionally, Rembrandt arranges his figures in a dynamic grouping. The interaction between Christ, the children, and the disciples forms a narrative arc, drawing the viewer into the theological drama as an empathetic participant rather than a distant observer.

Cultural Impact

“Let the Little Children Come to Me” occupies an important place in Rembrandt’s early career and in the broader sweep of religious art. It illustrates the artist’s commitment to imbuing biblical stories with humanity and emotional immediacy, setting a standard for subsequent religious works in the Netherlands and beyond.

The painting’s influence persists in its emphasis on empathy and inclusion. Its message—one of welcome and universal grace—found echoes not just in church interiors but also in shifting attitudes towards children and family in Western culture. The artwork contributed to a broader appreciation for the vulnerability and sanctity of childhood, themes that became increasingly important in Enlightenment thought and later reform movements.

Rembrandt’s vision also had a profound effect on later artists, who admired his ability to combine technical brilliance with deep feeling. His approach informed generations of painters, from the Romantic movement to modern spiritual art.

Conclusion

“Let the Little Children Come to Me” is more than a religious narrative rendered in oil and pigment. It is a statement of Rembrandt’s humanism and his spiritual vision. Combining symbolic richness, narrative depth, and technical skill, the painting invites viewers not just to witness a gospel story, but to inhabit it—to see themselves, whatever their age or station, as participants in divine welcome and grace. The enduring power of Rembrandt’s interpretation lies in his faith in art’s capacity to reveal, to comfort, and to transform.

Sources

• Liedtke, Walter. Rembrandt: The Late Religious Portraits. Yale University Press, 2005.
• Chapman, H. Perry. Rembrandt's Self-Portraits: A Study in Seventeenth-Century Identity. Princeton University Press, 1990.
• The National Gallery, London. “Rembrandt and the Old Masters: A Permanent Dialogue.”
• The Metropolitan Museum of Art. “Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam).”
• Schwartz, Gary. Rembrandt: His Life, His Paintings. Viking, 1985.