[Solved] Which of the two paintings of the Parable of the Prodigal Son, either Licinio’s (c. 1530) or Rembrandt’s (c. 1669), both below, would better illu-strate this parable?

Assignment Prompt & Instructions

**A Very Short Para-graph on Painting the Parable of the Prodigal Son:**

**Using the Claim-Evidence-Explanation Model and Active Voice**

For this exercise, you’ll wri-te a short para-graph (no more than five sentences) that makes a brief argument, complete with a claim, evidence, and an explanation of how/why the evidence supports the claim.

This Claim-Evidence-Explanation template will work in many writ-ing contexts because it answers three essential ques-tions that most audiences will have:

1. a) _What_ are you saying? ( **CLAIM**)
2. b) _Why_ are you saying that? ( **EVIDENCE**), and
3. c) _How_ does that evidence support your claim? ( **EXPLANATION**)

As you w.r.i.t.e your answers in a short para-graph, you’ll be anticipating your audience’s questions, and, since most of us are more relaxed and confident as speakers rather than as writ-ers, at least one-on-one, this temp that models the back-and-forth of oral communication can make easier.

Here’s the question:

**Which of the two paintings of the Parable of the Prodigal Son, either Licinio’s (c. 1530) or Rembrandt’s (c. 1669),  both below, would better illustrate this parable?**

**1) Licinio:**

Your answer will become part of your _**claim**_ in a para-graph.

Name _**evidence**_ from two sources to support your claim: 1) the Biblical t.ext and 2) the paintings. You won’t need any formal A.P.A citation here, just be clear about what you’re noticing and how it influences your choice.

_**Explain**_ how the evidence you cite supports your claim.

_**Every sentence in your para-graph must use active voice only.**_

**However, just as you should consider writ-ing the final version of your the-sis last, consider doing the “research” for this short pap.er first; rather than saying first which painting better illustrates the parable, consider answering the evidence questions first. In other words, let the evidence guide your eventual claim.**

Here’s the text from Luke 15:11-32 (NIV) that the two paintings illustrate:

**11** Jesus continued: “There was a man who had two sons. **12** The younger one said to his father, ‘Father, give me my share of the estate.’ So he divided his property between them.

**13**“Not long after that, the younger son got together all he had, set off for a distant country and there squandered his wealth in wild living. **14** After he had spent everything, there was a severe famine in that whole country, and he began to be in need. **15** So he went and hired himself out to a citizen of that country, who sent him to his fields to feed pigs. **16** He longed to fill his stomach with the pods that the pigs were eating, but no one gave him anything.

**17**“When he came to his senses, he said, ‘How many of my father’s hired servants have food to spare, and here I am starving to death! **18** I will set out and go back to my father and say to him: Father, I have sinned against heaven and against you. **19** I am no longer worthy to be called your son; make me like one of your hired servants.’ **20** So he got up and went to his father.

“But while he was still a long way off, his father saw him and was filled with compassion for him; he ran to his son, threw his arms around him and kissed him.

**21**“The son said to him, ‘Father, I have sinned against heaven and against you. I am no longer worthy to be called your son.’

**22**“But the father said to his servants, ‘Quick! Bring the best robe and put it on him. Put a ring on his finger and sandals on his feet. **23** Bring the fattened calf and kill it. Let’s have a feast and celebrate. **24** For this son of mine was dead and is alive again; he was lost and is found.’ So they began to celebrate.

**25**“Meanwhile, the older son was in the field. When he came near the house, he heard music and dancing. **26** So he called one of the servants and asked him what was going on. **27**‘Your brother has come,’ he replied, ‘and your father has killed the fattened calf because he has him back safe and sound.’

**28**“The older brother became angry and refused to go in. So his father went out and pleaded with him. **29** But he answered his father, ‘Look! All these years I’ve been slaving for you and never disobeyed your orders. Yet you never gave me even a young goat so I could celebrate with my friends. **30** But when this son of yours who has squandered your property with prostitutes comes home, you kill the fattened calf for him!’

**31**“‘My son,’ the father said, ‘you are always with me, and everything I have is yours. **32** But we had to celebrate and be glad, because this brother of yours was dead and is alive again; he was lost and is found.’”

– [\
\
Rembrandt.png](https://www.sweetstudy.com/files/rembrandt-png "Rembrandt.png")
– [\
\
Lincinio.png](https://www.sweetstudy.com/files/lincinio-png "Lincinio.png")
– [\
\
ActiveandPassiveVoice-TheMusical-24-25.pptx](https://www.sweetstudy.com/files/activeandpassivevoice-themusical-24-25-pptx-10569987 "ActiveandPassiveVoice-TheMusical-24-25.pptx")
– [\
\
Screenshot2026-06-30164758.png](https://www.sweetstudy.com/files/screenshot2026-06-30164758-png "Screenshot2026-06-30164758.png")