In Genesis 19, Lot shows hospitality to two angels who arrive in Sodom, and invites them to stay the night at his house. However, the men of the city gather around the house and demand that Lot hand over his guests so they can "know them". Lot admonishes them for their wickedness, and offers the mob his two virgin daughters instead. When the mob refuses Lot's offer, the angels strike them with blindness, and then warn Lot to leave the city before it is destroyed.
Frans Floris The Elder
Lot and his daughters
oil on panel
76.5 by 67.5 cm.; 30 1/8 by 26 1/2 in.
Private collection
The pose and dress of the daughter embraced by Lot in the present painting derives from Floris' painting of the same subject in the Hermitage Museum, St. Petersburg (See below).
Floris, Frans (Frans de Vriendt). 1519/20-1570
Lot with his Daughters, c. 16th century
Oil on panel (oak)
Technique:
102х175 cm
Hermitage Museum, St. Petersburg
Frans Floris, Frans Floris the Elder or Frans Floris de Vriendt (17 April 1519 – 1 October 1570) was a Flemish painter, draughtsman, print artist and tapestry designer. He is mainly known for his history paintings, allegorical scenes and portraits. He played an important role in the movement in Northern Renaissance painting referred to as Romanism. The Romanists had typically travelled to Italy to study the works of leading Italian High Renaissance artists such as Michelangelo, Raphael and their followers. Their art assimilated these Italian influences into the Northern painting tradition. More on Frans Floris
Hendrik Goltzius (1558–1617)
Lot and his Daughters, c. 1616
Oil on canvas
Height: 140 cm (55.1 in); Width: 204 cm (80.3 in)
Hendrick Goltzius, or Hendrik, (January or February 1558 – 1 January 1617) was a German-born Dutch printmaker, draftsman, and painter. He was the leading Dutch engraver of the early Baroque period, or Northern Mannerism, lauded for his sophisticated technique, technical mastership and "exuberance" of his compositions. According to A. Hyatt Mayor, Goltzius "was the last professional engraver who drew with the authority of a good painter and the last who invented many pictures for others to copy". In the middle of his life he also began to produce paintings. More on Hendrick Goltzius
Lot and his daughters. Sitting under a tree. Lot's daughters are seducing their father. All three figures are depicted naked and sitting or laying on the ground. The daughter on the left is holding a wine jar. Lot is holding a wine-drinking cup in his right hand. Bottom left stands a small table with cheeses and bread. A little dog is sitting by it. In the background on the right Sodom and Gomorrah are burning. In front of the fire Lot's wife, who was turned into a pillar of salt, is standing. Behind the tree a fox looks on. More on this painting
Giovan Battista Langetti (1635–1676)
Lot and his daughters, c. 17th century
Oil on canvas
Height: 136.8 cm (53.8 in); Width: 181.5 cm (71.4 in)
Private collection
In the present painting, the blending of Langetti's personal style with Neapolitan characteristics is evident in the artist's vibrant brushwork, and his dramatic use of light and chiaroscuro. Langetti's interest in human anatomy is also apparent in his textural depiction of Lot's musculature, which conveys a strong sense of realism.
A picture of similar dimensions was sold London, Christie's, 10 July 1981, lot 68, which depicted a subsequent scene from the story of Lot. This suggests that Langetti executed a series of canvases from this story. More on this painting
Giovanni Battista Langetti (1625–1676), also known as Giambattista Langetti, was an Italian late-Baroque painter. He was active in his native Genoa, then Rome, and finally for the longest period in Venice.
He first trained with Assereto, then Pietro da Cortona, but afterwards studied under Giovanni Francesco Cassana, appeared in Venice by the 1650s where he worked in a striking Caravaggesque style. He is thought to have influenced Johann Karl Loth and Antonio Zanchi. He painted many historical busts for private patrons in the Venetian territory and in Lombardy. He died at Venice in 1676. More on Giovanni Battista Langetti
Jan Brueghel the Elder (1568–1625)
Lot and his Daughters, c. around 1597
Oil on copper
Height: 26 cm (10.2 in); Width: 35.2 cm (13.8 in)
Orazio Gentileschi (workshop of)
Lot and His Daughters, ca. 1621 - 1623
Oil on canvas
120 x 168.5 cm
Follower Orazio Gentileschi
Lot and his Daughters
Oil on canvas
102.4 x 133.2 cm
Private collection
Gentileschi used a limited range of colours but created elegant combinations through the use of large, juxtaposed areas of colour for the clothes in shades of red, yellow, blue and white against a landscape background in which dark greys, blues and earth tones predominate. Also striking are the silver coloured wine flask and the golden wine dish on the ground on the left, which are brilliantly painted with regard to their surface textures and colours. More on this painting
Orazio Lomi Gentileschi (1563–1639) was an Italian painter. Born in Tuscany, he began his career in Rome, painting in a Mannerist style, much of his work consisting of painting the figures within the decorative schemes of other artists. After 1600, he came under the influence of the more naturalistic style of Caravaggio. He received important commissions in Fabriano and Genoa before moving to Paris to the court of Marie de Medici. He spent the last part of his life at the court of Charles I of England. He was the father of the painter Artemisia Gentileschi. More on Orazio Gentileschi
Attributed to Giovanni Andrea de Ferrari
LOT AND HIS DAUGHTERS
Oil on canvas
138 x 115 cm
FERRARI, Giovanni Andrea de, (b. ca. 1598, Genova, d. 1669, Genova). He was a prolific easel painter who painted many altarpieces and created a lyrical, richly coloured manner that influenced the later development of the Genoese Baroque.
Ferrari's work consists primarily of religious subjects. Throughout the 1620s Giovanni Andrea painted several large canvases with scenes from the lives of the saints and drew on a number of influences. In 1634 Giovanni Andrea was made a member of the Accademia di San Luca in Rome, but there is no record of his being in Rome. His work during this decade includes the lunette painting the Miracle of St Bridget, the Madonna of the Rosary...
After the 1630s there are few dated pictures to establish a chronology for the artist. Moreover, while his handling changes his figure types remain for the most part consistent. In his later work, Giovanni Andrea withdrew from the mannerism of Strozzi and Ansaldo and achieved success with a more refined approach to religious narrative and psychology.
As he never left Genoa and had no family, Giovanni Andrea proved a particularly attentive teacher in his studio, which included Valerio Castello, Giovanni Battista Merano and possibly even Giovanni Benedetto Castiglione.
More on Giovanni Andrea de Ferrari
Francesco Furini
Lot and his Daughters, Ca. 1634
Oil on canvas
Height: 123 cm; Width: 120 cm
Museo Nacional del Prado
This work in Francesco Furini’s oeuvre and one of the most sensual and morbid of all Italian Baroque paintings. More on this painting
Francesco Furini (c. 1600 (or 1603) – August 19, 1646) was an Italian Baroque painter of Florence, noted for his sensual sfumato style in paintings of both secular and religious subjects. He was born in Florence to an artistic family. Furini's early training was by Matteo Rosselli. Traveling to Rome in 1619, he also would have been exposed to the influence of Caravaggio and his followers.
Furini's work reflects the tension faced by the conservative, mannerist style of Florence when confronting then novel Baroque styles. He is a painter of biblical and mythological set-pieces with a strong use of the misty sfumato technique. In the 1630s his style paralleled that of Guido Reni.
Furini became a priest in 1633 for the parish of Sant'Ansano in Mugello.
Freedberg describes Furini's style as filled with "morbid sensuality". His frequent use of disrobed females is discordant with his excessive religious sentimentality, and his polished stylization and poses are at odds with his aim of expressing highly emotional states. His stylistic choices did not go unnoticed by more puritanical contemporary biographers like Baldinucci. Pignoni also mirrored this style in his works.
Felice Torelli, Florence, Verona 1667-1748 Bologna
Lot and His Daughters
Oil on canvas
56 by 78 1/2 in.; 142.2 by 199.4 cm.
Private collection
Felice Torelli (9 September 1667 – 11 June 1748) was an Italian painter of the Baroque style, active mainly in Bologna.
Felice was initially apprenticed to Santi Prunati in Verona, then to Giovanni Gioseffo dal Sole in Bologna. In 1710, Torelli was one of the founders of the Accademia Clementina in Bologna, and during his time there, Giuseppe Maria Crespi was a member.
He painted a Martyrdom of St. Maurelius for Ferrara Cathedral. He painted St Vincent in the act of curing a lunatic woman for the church of the Dominicans in Faenza. Other altarpieces were painted for churches in Rome, Turin, Milan, and other cities in Italy. More on Felice Torelli
Andrea Vaccaro
Lot and his Daughters
Oil on canvas,
179.5 by 257.5 cm.; 70 3/4 by 101 3/8 in.
Private collection
Rarely does Vaccaro achieve the pictorial refinement exemplified here: the sophisticated interplay between the three figures of Lot and his two daughters is set against the backdrop of a burning Sodom, as told in the Old Testament (Book of Genesis 19: 30-38). Vaccaro’s refinement in describing textures, in particular those of the still-life elements in this painting, is clearly visible through the painting’s discoloured varnish: the ornate ormolu urn held by the woman on the left contrasts with the glazed earthenware of the overturned jug just below it, and the artist convincingly portrays the delicate façon-de-venise wineglass held up by Lot. More on this painting
Andrea Vaccaro
Lot and his daughters, c. 1650
Oil on canvas
202 x 257 cm
Private collection
According to Lattuada, the present painting is one of the finest examples of the artist’s highly individualised mature style. The colour palette is bright and influenced by the stylistic tendencies of Roman Classicism during the 1660s.
The present painting may also be compared to a similar composition by Andrea Vaccaro of Lot and his daughters, with the figure of Lot in the reverse, in the Prado, Madrid. More on this painting
Andrea Vaccaro (baptised on 8 May 1604 – 18 January 1670) was an Italian painter of the Baroque period. Vaccaro was in his time one of the most successful painters in Naples, a city then under Spanish rule. Very successful and valued in his lifetime, Vaccaro and his workshop produced many religious works for local patrons as well as for export to Spanish religious orders and noble patrons. More Andrea Vaccaro
Daniel Neuberger the Younger
Lot and His Daughters, circa 1657
Partially gilt polychrome wax
42 by 32cm., 16½ by 12⅝in
Private collection
This unusually large modelled relief by Daniel Neuberger the Younger, is a rare survival of early sculpture in this most fragile of materials.
Born into an Augsburg family of wax modellers, Daniel Neuberger the Younger rose to significant prominence as an artist in mid-17th century Germany, receiving commissions from clients as eminent as Emperor Ferdinand III. Neuberger was renowned among his contemporaries not only for his intricate battle scenes - of which two survive in the Kunsthistorisches Museum, Vienna - but also for his talent in imitating other materials in his richly coloured waxes. The latter skill is showcased beautifully in the present relief, which renders the women's precious jewellery, as well as the metal of the amphora, to astonishing effect. More on Daniel Neuberger the Younger
Torri, Flaminio. 1621-1661
Lot and his Daughters, c. 17th century
Oil on canvas
121x183 cm
he State Hermitage Museum
Flaminio Torre (1620–1661) was an Italian Baroque painter of the Bolognese School, active during the Baroque period.
He was a pupil of Guido Reni, Giacomo Cavedone, and Simone Cantarini. He was also called Degli Ancinelli, and painted for churches in Bologna; including a Deposition from the Cross for S. Giorgio. Torre died in Modena. Among his pupils were Giulio (or Giuseppe) Cesare Milani, Giovanni Maria Viani, and Alessandro Badile. More on Flaminio Torre
Circle of Antonio Balestra (Verona 1666-1740)
Lot and his daughters
Oil on canvas
33 x 50¼ in. (83.8 x 127 cm.)
Antonio Balestra (12 August 1666 – 21 April 1740) was an Italian painter of the Rococo period. Born in Verona, he first apprenticed there with Giovanni Zeffio. By 1690 he moved to Venice, where he worked for three years under Antonio Bellucci, then moved to Bologna and then to paint in Carlo Maratta's workshop in Rome. In 1694, he won a prize from the Accademia di San Luca. He later painted both in Verona and Venice; although his influence was stronger in the mainland. More on Antonio Balestra
Werff, Adriaen van der. 1659-1722
Lot and his Daughters, c. 1711
Oil on wood panel
44,5x34,5 cm
The State Hermitage Museum.
Adriaen van der Werff (21 January 1659 – 12 November 1722) was an accomplished Dutch painter of portraits and erotic, devotional and mythological scenes. His brother, Pieter van der Werff (1661–1722), was his principal pupil and assistant.
At the age of ten he started to take lessons, two years later moving in with Eglon van der Neer, specializing in clothes and draperie. At the age of seventeen he founded his own studio in Rotterdam where he later became the head of guild of Saint Luc. In 1696, he was paid a visit by Johann Wilhelm, Elector Palatine and his wife, Anna Maria Luisa de' Medici. The couple ordered two paintings to be sent to Cosimo III of Tuscany, Anna Maria Luisa's father, in Florence. During the next years Van der Werff traveled regularly between Düsseldorf and his home town. In 1703, he became the official court painter and a knight, when his former teacher and predecessor Van der Neer died. Van der Werff, with a perfect technique, was paid extremely well by the Elector for his biblical or classical (erotic) paintings. In 1705, he painted a portrait of Gian Gastone de' Medici, Grand Duke of Tuscany. In 1716, he lost his job when the Elector died because the treasury was empty.
Van der Werff became one of the most lauded Dutch painters of his day, gaining a European reputation and an enormous fortune. Arnold Houbraken, writing in 1718, considered him the greatest of the Dutch painters and this was the prevailing critical opinion throughout the 18th century: however, his reputation suffered in the 19th century, when he was alleged to have betrayed the Dutch naturalistic tradition. In the Victorian Age people could not appreciate his art, so most of his work went into the cellars of the Alte Pinakothek.
Domenico Fiasella
Lot and his Daughters
Oil on canvas
20 3/8 x 26 1/8 in. (52.3 x 66.3 cm.)
Private collection
Domenico Fiasella (12 August 1589 – 19 October 1669) was an Italian painter of the Baroque period, mainly active in Genoa. He was nicknamed Il Sarzana, after his birthplace.
He was born in c, the son of Giovanni Fiasella, a silversmith, who, noting his skills apprenticed him as a boy of 11 years to work with Aurelio Lomi in Genoa, and from there he moved to work with Giovanni Battista Paggi.
Around 1607 he left for Rome, where he frequented the Accademia del Nudo. His ability was first recognized by Guido Reni and Ciriaco Mattei, which led Domenico Passignano and Cavalier D'Arpino to employ him. The Marchese Vincenzo Giustiniani commissioned paintings from him.
He returned to Genoa by 1616, where he set up a prolific studio. He frescoed the Story of Esther for the Palazzo Lamellini alla Zecca in Genoa. He collaborated occasionally with the Flemish born painter Giacomo Legi who lived and worked in Genoa. He died in Genoa. More on Domenico Fiasella
The King James Version (KJV) and the New Revised Standard Version (NRSV) describe the older surviving daughter as "the firstborn", while the Contemporary English Version (CEV) uses "the older".
JOSEPH NOLLEKENS, 1732–1823
Lot and his Daughters, Sculpted in 1803
Terracotta
9 ½ × 9 ¼ inches · 240 × 235 mm
Private collection
This worked terracotta is a particularly ambitious model, showing the aged Lot being plied with drink by his two daughters. This model is unusual for depicting a Biblical scene, rather than an episode from Roman or Greek mythology. Nollekens has revelled in the complex psychology of the scene producing a remarkable sculpture which can be read fully in the round. Nollekens has modelled Lot in a corkscrew pose, his muscular torso turned with his left leg stretched behind him, one of his daughters is shown lying at his feet, her left arm reaching round to Lot’s back and her right hand gently placed on his right knee looking longingly up at him; this intimate pose gives a powerful intimation of the incestuous episode that would follow Lot’s acceptance of the drink being poured by the second daughter. Nollekens shows the second daughter standing over her father ampulla in hand dispensing wine, her sinuous left arm reaches behind Lot’s back and her beautifully articulated fingers rest on his left shoulder. The interlocking of the three figures makes the model legible from every angle, revealing Nollekens to be a master of narrative, each gesture suggestive of the manipulative nature of the daughter’s seduction of their father. Given its compositional complexity, its beautiful level of finish and the effecting nature of the subject, it is perhaps unsurprising that Nollekens chose to exhibit the model at the Royal Academy in 1803. More on this painting
Joseph Nollekens, (born Aug. 11, 1737, London, Eng.—died April 23, 1823, London), Neoclassical sculptor whose busts made him the most fashionable English portrait sculptor of his day.
At 13 Nollekens entered the studio of the noted sculptor of tombs and busts Peter Scheemakers, from whom Nollekens learned to appreciate the sculpture of antiquity. In 1760 he went to Rome, where David Garrick and Laurence Sterne were among the English visitors who sat for him. After his return to England in 1770 he became a member of the Royal Academy (1772) and was patronized by George III. Among his famous likenesses are those of George III, William Pitt, Charles James Fox, and Benjamin West. Many of his works were influenced by ancient Roman busts of the late Republic style. He personally preferred sculpting mythological works based on ancient prototypes, especially genteel but erotic Venuses delicately modeled in an almost Rococo manner. More on Joseph Nollekens
Francesco Hayez (1791-1882)
Lot and His Daughters, c. 1833
Oil on canvas
Public collection
Francesco Hayez (10 February 1791 – 21 December 1882) was an Italian painter, the leading artist of Romanticism in mid-19th-century Milan, renowned for his grand historical paintings, political allegories and exceptionally fine portraits.
Hayez came from a relatively poor family from Venice. He was brought up by his mother's sister, who had married a well-off shipowner and collector of art. From childhood he showed a predisposition for drawing, so his uncle apprenticed him to an art restorer. Later he became a student of the painter Francesco Maggiotto with whom he continued his studies for three years. He was admitted to the painting course of the New Academy of Fine Arts in 1806. In 1809 he won a competition from the Academy of Venice for one year of study at the Accademia di San Luca in Rome. He remained in Rome until 1814, then moved to Naples where he was commissioned by Joachim Murat to paint a major work depicting Ulysses at the court of Alcinous. In the mid-1830s he attended the "Salotto Maffei" salon in Milan.
Francesco Hayez lived long and was prolific. His output spanned both historic paintings, and Neoclassic style grand themes, either from biblical or classical literature. He also painted scenes from theatrical presentations of his day. More Francesco Hayez
During the escape from Sodom, Lot's wife turns into a pillar of salt. Lot and his daughters take shelter in Zoar, but afterwards go up into the mountains to live in a cave. One evening, Lot's eldest daughter gets Lot drunk and has sex with him without his knowledge. The following night, the younger daughter does the same. They both become pregnant; the older daughter gives birth to Moab, while the younger daughter gives birth to Ammon.
According to Jewish tradition, Lot's daughters believed that the entire world had been destroyed, and that they were the only survivors. They therefore resorted to incest in order to preserve the human race. The basis of this idea is the comment of the elder daughter that "there is not a man in the earth" to give them children. However, commentators such as John Calvin have pointed out that the family had only recently dwelt in Zoar, so they must have known they were not the only people left alive. Calvin therefore concludes that the elder daughter's remark refers not to the whole earth, but only to the region in which they were living.
Paul Cézanne
Lot and his daughters, c. 1865
23.6 x 28.7 cm
Private collection
Paul Cézanne (19 January 1839 – 22 October 1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavour to a new and radically different world of art in the 20th century.
Cézanne is said to have formed the bridge between late 19th-century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne's intense study of his subjects. Both Matisse and Picasso are said to have remarked that Cézanne "is the father of us all". More on Paul Cézanne
Many scholars have drawn a connection between the two episodes of Lot's daughters. According to Robert Alter, this final episode "suggests measure-for-measure justice meted out for his rash offer."
Marc Chagall
Lot and his Daughters, 1958
Etching with hand water coloring on paper
21in. by 15.25in
Marc Chagall
Detail; Lot and his Daughters, c. 1931
Oil on canvas
I have no further description, at this time
Lot and his Daughters, c. 1931
Gouache, paper
THE VIRTUAL WINE MUSEUM
I have no further description, at this time
Marc Zakharovich Chagall (1887 – 28 March 1985) was a Russian-French artist. An early modernist, he was associated with several major artistic styles and created works in virtually every artistic medium, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints.
Chagall saw his work as "not the dream of one people but of all humanity. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN, and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.
Before World War I, he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern European Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922.
He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is" More on Marc Zakharovich Chagall
Josef Bato
Lot and his daughters, c. 1923
Oil on canvas
75*96 cm
Joseph Bato was a painter, draughtsman and film director Joseph Bato was born József Bató in Budapest. He studied at the School of Applied Arts, Budapest and in 1906 joined the second generation of painters at the Nagybánya artists' colony. The following year, he took private classes under Henri Matisse and Georges Desvallièrs in Paris, completing his studies between 1909 and 1912 at the Hungarian Academy of Fine Arts. He then moved to Berlin, where he joined the Secession Group, experimenting with murals in the Neo-classical style and oil paintings influenced by both French Post-impressionism and German Expressionism. During the First World War, Bato returned to Hungary, serving on the Russian Front as an official Austro-Hungarian war artist. In 1916 he was invalided out and returned to Berlin, where he produced designs for the anti-war periodical Der Bildemann. Shortly after the war, he returned to Berlin, and in 1928 worked as a teacher at a private art school, also designing posters for cultural events.
After arriving in London in 1936, Bato was one of only two foreign artists (the other being Austrian émigré Joseph Flatter), granted a Home Office sketching permit in February 1941 to record the ravages of war on London.
In April his sketching permit was withdrawn when Hungary entered the war on the opposite side and Bato became an 'enemy alien'.
In 1945, Bato became a leading art director at London Films (founded by Korda) working on more than 25 acclaimed productions.
In his final years, Bato again focused on painting, while travelling extensively in France and Spain to study prehistoric cave paintings, which inspired his novel titled The Sorcerer, about the adventures of a Cro-Magnon man, published posthumously in the USA in 1976. Joseph Bato died in London, England in 1966. More on Joseph Bato
Otto Dix
Lot and His Daughters, c. 1939
Oil on canvas
Ludwig Museum, Aachen, Germany
Otto Dix, (born December 2, 1891, Untermhaus, Thuringia, Germany—died July 25, 1969, Singen, Baden-Württemberg, Germany), German painter and engraver who mixed compassion and Expressionist despair to create works harshly critical of society. He was associated and exhibited with the Neue Sachlichkeit group of painters.
Son of a railway worker, Dix was apprenticed to a decorative artist and received training in Dresden. An Impressionist at first, he experimented with various trends in modern art until he arrived at a mordantly individual style, a nightmarish vision of contemporary social reality. In 1924 he etched a 50-plate series recording the horrors of war.
Appointed a professor at the academy in Dresden (1927), Dix was elected to the Prussian Academy (1931). The Nazi regime, however, incensed at his antimilitary works, cancelled these affiliations and barred him from exhibiting. He was jailed in 1939 on a charge of complicity in a plot on Adolf Hitler’s life, but in 1945 he was drafted into the home guard army at the age of 53. He was captured and released by the French. Dix later turned to religious mysticism, as in Saul and David (1945) and Crucifixion (1946). More on Otto Dix
A number of commentators describe the actions of Lot's daughters as rape. According to Esther Fuchs, the text presents Lot's daughters as the "initiators and perpetrators of the incestuous 'rape'." Alter agrees, adding that when the elder daughter says "let us lie with him", the meaning of the Hebrew verb in this context "seems close to 'rape'."
More on Lot and His Daughters
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