The work depicts the prodigal son kneeling on the stairs of his father's house asking forgiveness for the dissipation of the money he received as a gift. The canvas best represents the painter's early maturity. Guercino implements a synthesis between the compositional realism of Ludovico Carracci, the colorism of Ippolito Scarsella and the architectural inventions of Venetian ancestry. A certain knowledge of Caravaggio's painting can be seen both in the representation of the figure of the prodigal son and in the depiction of the servant behind the elderly father. In the first case, the reference seems to be the characters in the Madonna dei Pellegrini, a work by Merisi from 1604-1606 in S. Agostino in Rome. In the second case, however, the servant's dress refers to many characters painted by the master: for example, the boy in the Good Fortune of 1596-97, preserved in the Louvre. Guercino made The Prodigal Son in 1617 in Bologna for Archbishop Ludovisi. The good relations between Cardinal Maurizio and Ludovisi, even before he became pope in 1621, but since he was extraordinary nuncio to Savoy in 1616 to resolve the disputes between Carlo Emanuele I and Philip of Spain, regarding the dispute over the lands of Monferrato , may have been the link for the arrival of the canvas in Turin. This appears in fact in the inventory of the Savoyard collections since 1631.