Italian master of the 17th century
THE DAUGHTER OF LOT WITH WINE CRACK
Oil on canvas
162 x 92 cm.
Private collection
In the background you can see both the burning city and the frozen wife of Lot. In the center is one of the daughters with a naked breast and white and blue robe, her right arm placed over a golden wine carafe. On the floor a red cloth on which a plate lies. The young pretty woman in a seductive pose with the wine, with which she later drank and seduced her father. More on this painting
Lot and his two daughters, Genesis 19:30-38, left
Zoar and settled in the mountains, for he was afraid to stay in Zoar. He and
his two daughters lived in a cave. 31 One day the older daughter said to the
younger, “Our father is old, and there is no man around here to give us
children—as is the custom all over the earth. 32 Let’s get our father to drink
wine and then sleep with him and preserve our family line through our father.”
That night
they got their father to drink wine, and the older daughter went in and slept
with him. He was not aware of it when she lay down or when she got up.
The next
day the older daughter said to the younger, “Last night I slept with my father.
Let’s get him to drink wine again tonight, and you go in and sleep with him so
we can preserve our family line through our father.” So they got their father
to drink wine that night also, and the younger daughter went in and slept with
him. Again he was not aware of it when she lay down or when she got up.
So both of Lot’s daughters became pregnant by
their father. The older daughter had a son, and she named him Moab; he is the
father of the Moabites of today. The younger daughter also had a son, and she
named him Ben-Ammi; he is the father of the Ammonites of today. More Lot and his two daughters
Painting in 17th-century Italy was an
international endeavor. Large numbers of artists traveled to Rome, especially,
to work and study. They sought not only the many commissions being extended by
the Church but also the chance to learn from past masters. Most of the century
was dominated by the baroque style, whose expressive power was well suited to
the needs of the Counter-Reformation Church for affecting images.
The drama
and movement that characterized the baroque—in sculpture and architecture as
well as painting—can be first seen, perhaps, in the work of Caravaggio, who
died in 1610. His strong contrasts of light and dark and unblinking realism
were taken up by many artists, including the Italian Orazio Gentileschi, the
Spaniard Jusepe de Ribera, and the Frenchmen Valentin de Boulogne and Simon
Vouet, all of whom worked in Italy. Other artists carried Caravaggio’s
so-called tenebrist style to northern Europe.
The more classical approach of the Carracci and their
students Guercino and Domenichino was also an important force in 17th-century
painting. It provided a foundation for the rational clarity that structured the
work of French artists Nicolas Poussin and Claude Lorrain, both of whom worked
in Rome for most of their lives. More
on the ITALIAN SCHOOL, (17th century)
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