A kneeling young man, barefoot and clothed in tattered garments, presses himself against the chest of an elderly figure who bends over him with both hands resting on his back. The older man wears a rich red robe and gazes downward, his face illuminated by a soft, golden light that falls from the left, highlighting the folds of his garment and the gentle gesture of his hands. To the right, a standing figure in a long red cloak and ornate headpiece watches the scene, his hands clasped and his posture upright, his expression reserved and contemplative.

Behind the central pair, a seated man in a dark hat and fine clothing observes quietly from the shadows, while further back, a faintly visible woman stands in the gloom, her features softly outlined. The setting is an interior, its background enveloped in deep shadow, with only the main figures and a few details—such as the prodigal son's discarded sandal and the ornate tassels of the father's robe—catching the warm, directional light. Rembrandt arranges the composition so that the viewer's attention is drawn to the embrace at the center, using strong contrasts of light and dark and the careful placement of hands and faces.

The brushwork is broad and textured in the garments and background, while the faces and hands are rendered with a softness that emphasizes emotion and character. The palette is dominated by deep reds, ochres, and browns, with subtle highlights that model the forms and evoke a sense of spiritual warmth. Return of the Prodigal Son was painted by Rembrandt in about 1668 in Amsterdam, and is recognized as one of his final works. The subject is drawn from the Biblical parable of the prodigal son, in which a wayward son returns home in repentance after squandering his inheritance, and is received with compassion by his father. The Return of the Prodigal Son is widely regarded as a masterpiece of Rembrandt's late period, demonstrating his ability to convey profound spiritual and emotional depth through composition, light, and gesture.