Lot and his Daughters
Oil On Panel
WallArt
Renaissance Genre Painting
1520
Renaissance
48.0 x 34.0 cm
Louvre
Giclée / Kunstdruck
Giclée- oder Leinwanddruck in Museumsqualität mit schneller Produktion und flexiblen Veredelungsoptionen. ( Handgemalte Reproduktion kaufen
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Lot and his Daughters
Giclée / Kunstdruck
Format der Reproduktion
-
Gesamtpreis
$ 80
A Biblical Drama Captured in Pigment
In the quiet, somber depths of Lucas van Leyden’s “Lot and His Daughters,” we are invited into a moment of profound biblical tension and moral ambiguity. Created around 1520-1530, this masterpiece serves as a window into the Northern Renaissance, capturing the immediate, heavy aftermath of the destruction of Sodom and Gomorrah. The scene is not one of outward chaos, but of a hushed, unsettling intimacy. Under the protective, crimson canopy of a tent, Lot sits amidst the remnants of his flight, flanked by his two daughters. There is a palpable sense of weight in the air—a mixture of grief for the lost cities and the burgeoning, complex narrative of survival and seduction that follows their escape. For the discerning collector, this work offers more than just a historical depiction; it provides a profound psychological study of humanity at its most vulnerable.
The composition is masterfully orchestrated to draw the eye through a landscape of both physical and emotional terrain. Van Leyden utilizes a muted, earthy palette—rich ochres, deep browns, and blood-like reds—to establish an atmosphere of solemnity and contemplation. This tonal restraint allows the subtle details to emerge with startling clarity: the way light catches a ceramic bowl, the delicate positioning of the figures, and the distant, watchful presence of others near the tent. The artist’s background as a premier engraver is evident in the meticulous precision of his brushwork; every fold of fabric and every element of the surrounding landscape feels etched with intention, lending the painting a tactile, almost sculptural quality that breathes life into the 16th-century setting.
Symbolism and the Human Condition
Beyond its narrative function, “Lot and His Daughters” is a tapestry of symbolic depth. The red tent acts as a focal point of both sanctuary and sin, a threshold between the divine judgment that has passed and the uncertain moral future of the survivors. The presence of scattered objects—bowls, cups, and even birds in flight—serves to ground this biblical epic in a tangible, human reality, bridging the gap between the sacred text and the everyday world. This synthesis of the monumental and the mundane is what makes van Leyden’s work so enduringly relevant for modern interiors; it possesses a quiet gravity that commands attention without overwhelming a space.
For interior designers and art enthusiasts, a high-quality reproduction of this work offers an opportunity to introduce a sense of historical intellectualism and emotional resonance into a room. The painting does not merely decorate a wall; it invites conversation about resilience, the complexities of family, and the shadows of human nature. It is a piece that rewards long periods of observation, revealing new layers of detail and nuance with every glance. Whether placed in a curated gallery setting or as a soulful centerpiece in a sophisticated study, this reproduction of van Leyden’s genius brings the timeless drama of the Northern Renaissance into the contemporary home.
Biografie des Künstlers
early life and training
Lucas van Leyden (real name Lucas Hugensz or Jacobsz.), Netherlandish engraver and painter, born and mainly active in Leiden, who was among the first Dutch exponents of genre painting and is generally regarded as one of the finest engravers in the history of art. He was the pupil of his father, Huygh Jacobszoon; later, he entered the workshop of Cornelis Engelbrechtsz(oon), a painter of Leiden. His paintings, as well as his prints, reveal his unique approach to subject matter and style, though Lucas is more highly regarded today as a printmaker than as a painter. He was extraordinarily precocious. Even such early prints as *Muhammed and the Murdered Monk* (1508) are compositionally clear and direct and show great technical skill. Such engravings as *Susanna and the Elders* (1508), *St. George Liberating the Princess* (*c.* 1508–09), and his famous series *The Circular Passion* (1510) are notable for their accurate rendering of space and subtly composed landscapes. In 1514 he became a member of the Leiden painters' guild. He seems to have travelled a certain amount, and on a visit to Antwerp in 1521 he met Dürer, who drew his portrait (Mus.\n\nB.-A., Lille). An unbroken series of dated engravings makes it possible to follow his career as a printmaker and to date many of his paintings, but no clear pattern of stylistic development emerges. Dürer was the single greatest influence on him, but Lucas was less intellectual in his approach, tending to concentrate on the anecdotal features of the subject and to take delight in caricatures and genre motifs. Van Mander characterizes him as a pleasure-loving dilettante, who sometimes worked in bed, but he left a large œuvre, in spite of his fairly short life, and must have been a prodigious worker. Lucas had a great reputation in his day (Vasari even rated him above Dürer in certain respects) and he is universally regarded as one of the greatest figures in the history of graphic art (he made etchings and woodcuts as well as engravings and was a superb draughtsman). His status as a painter is less elevated, but he was nevertheless one of the outstanding Netherlandish painters of his period. He was a pioneer of the Netherlandish genre tradition, as witness his *Chess Players* (c.1508, Gemäldegalerie, Berlin)—which actually represents a variant game called ‘courier’—and his *Card Players* (c.1517, Wilton House, Wiltshire), while his celebrated *Last Judgement triptych* (1526–7, Lakenhal Mus., Leiden) shows the heights to which he could rise as a religious painter. It eloquently displays his vivid imaginative powers, his superb skill as a colourist, and his deft and fluid brushwork. Lucas left no pupils or direct followers, but his work was a stimulus to an even greater Leiden-born artist, Rembrandt.artistic development
Lucas van Leyden was among the first Dutch exponents of genre painting and a highly accomplished engraver. His early work, characterized by half-length figures (c. 1506-1512), showcases his precocious originality. As he matured, his landscapes developed, and he became skilled in engraving at a remarkably young age. The earliest known print by him, *Mohammed and the Murdered Monk* (1508), demonstrates his mastery of the medium. It reveals no trace of immaturity in inspiration or technique. Dürer was the single greatest influence on him, but Lucas was less intellectual in his approach, tending to concentrate on the anecdotal features of the subject and to take delight in caricatures and genre motifs.notable works and style
Seventeen paintings surely attributed to lucas van leyden survive, including:- The Healing of the Blind Man of Jericho, a masterpiece showcasing multiple figures against wooded landscapes.
- Saint Paul, attr. leyden, exemplifying his engraving prowess.
- The Milkmaid (engraving, 1510), highlighting his early skill in the medium.
museum collections and online presence
Lucas van Leyden's works can be found in various museums, including the Van Gogh Museum (Netherlands), which houses an extensive collection of his engravings and paintings. Online platforms like OriginalUniqueArt.com offer a comprehensive selection of his works, allowing art enthusiasts to explore his oeuvre in detail.Lucas van Leyden
1494 - 1533 , Niederlande
Eckdaten zum Künstler
- Artistic Movement Or Style: Frühniederländische Renaissance
- Artists Or Movements Influenced By This Artist: ['Deutsche Renaissance']
- Artists Who Influenced This Artist: ['Albrecht Dürer']
- Date Of Birth: Leiden, Niederlande (1494)
- Date Of Death: Vor August 8, 1533
- Full Name: Lucas Hugensz van Leyden
- Nationality: Niederländisch
- Notable Artworks:
- Die Heilung des blinden Mannes von Jericho
- St. Paulus
- Place Of Birth: Leiden

Die Glasoption ist nur für Größen unter 110 cm verfügbar.
