According to Richard Lacayo writing in Time magazine (15 Aug 2011):
In “Rembrandt and the Face of Jesus,” a small but choice show that just moved from the Louvre, the show’s first venue, to the Philadelphia Museum of Art and after October continues at the Detroit Institute of Arts, you see the great Dutch painter effectively inventing Christ as we tend to picture him now–not as a remote divinity but as the ideal human being, a profoundly complex and gentle man.
. . . Long the acknowledged master of rich surfaces and roiling tableaux, Rembrandt in middle age appears to have gone in search of a consoling Christ, quieter, more meditative, somebody who would listen. . . .
These portrait heads offer a very Protestant vision of Jesus, one who speaks to the heart directly, with no signifiers of his heavenly station. . . . (T)hese slightly unnerving pictures seem not like devotional art in the ordinary sense but more like portraits, albeit of the Son of God. . . . In Rembrandt’s late, great reckoning with Christ, the natural and the supernatural are one and the same.