Daniel in the Lions' Den (Rubens)
| Daniel in the Lions' Den | |
|---|---|
 | |
| Year | c.1614-1616 |
| Medium | oil paint, canvas |
| Dimensions | 224.2 cm (88.3 in) × 330.5 cm (130.1 in) |
| Location | National Gallery of Art |
| Identifiers | RKDimages ID: 28802 |
Daniel in the Lions' Den is a painting from around 1615 by the Flemish artist Peter Paul Rubens which is displayed in the National Gallery of Art in Washington, D.C. The painting depicts Daniel in the biblical story of Daniel in the lions' den, a Jewish prophet who was thrown into a den of lions for defying a royal decree that prohibited praying to anyone but the king. Despite his dangerous predicament, Daniel miraculously survived, protected by his unwavering faith in God.
The painting is initially owned by Dudley Carleton, 1st Viscount Dorchester. It was later presented to Charles I of England and displayed in the Bear Gallery at the Palace of Whitehall. Over the centuries, the painting changed hands multiple times, eventually becoming part of the Hamilton Palace collection before being sold to the National Gallery of Art in 1965.
Rubens' time in Italy profoundly influenced his artistic style, evident in the classical elements and lifelike representations in Daniel in the Lions' Den. The lions, painted life-size, contribute to the painting’s dramatic impact, making viewers feel as if they are intruding upon the scene. The figure of Daniel, influenced by classical sculptures and Renaissance art, is depicted as a young man, even though the biblical account suggests he was much older at the time of the incident.
Background
[edit]
The Flemish artist Peter Paul Rubens was born in Siegen, Nassau to Jan Rubens and Maria Pypelincks.[1] He was converted to Catholicism shortly before his father's death on 1587 and raised from the age of 10 as a Catholic, due to the threat from Magistrate of Cologne to expel every Protestant from the city. [2] Daniel in the Lions' Den was created after Rubens had returned to Antwerp from Italy at the start of the Twelve Years' Truce in 1609.[3] Rubens had spent eight years in Italy, supported by commissions from the Duke of Mantua. During this time, he was deeply influenced by classical sculptures by Raphael, Leonardo da Vinci, Michelangelo, Correggio, Tintoretto, Caravaggio, and Annibale Carracci.[4] The expression on Daniel's face may show this influence, as it is similar to those on the sculpture of the Dying Alexander and The Penitent Saint Jerome from Girolamo Muziano. Rubens would have encountered both of these works while in Italy.[5] The painting may have been started in 1612, but it is more often dated between 1613 and 1615.[6] The reason why Rubens painted this piece, and for whom it was originally intended, is still unknown.[7] Rachel Aviva Pollack, researcher from University of Maryland suggests that this painting is a political allegory representing the situation during the Twelve Years' Truce, due to the inclusion of exactly ten lions, the same number of provinces within the Southern Netherlands.[7]
The painting portrays Daniel, a central figure in the Book of Daniel. He was a noble young man from Jerusalem who was taken captive by Nebuchadnezzar II. Despite his exile, Daniel rose to prominence in the Babylonian court, serving the king and his successors with wisdom and integrity, all while staying faithful to the Yahweh until the Persian conquest led by Cyrus the Great.[8]The painting depicts the pivotal moment from Daniel 6, where Daniel is cast into the lions' den by Darius the Mede. Betrayed by his rivals, Daniel faces the penalty for defying a royal decree that forbids praying to any god or man but the king. In the painting, Rubens brings this dramatic biblical scene to life, showing Daniel surrounded by fierce lions.[9]
Provenance
[edit]The painting's first known owner was Dudley Carleton 1st Viscount Dorchester.[6] Carleton is ambassador for James I who is King of England at that time in The Hague and also an admirer for fine art. Rubens and Carleton met in September 1616 after Carleton had been promoted from his former ambassadorship in when he encountered his old acquaintance Tobie Matthew and George Gage at destination spa cause he suffered gallstone. During this encounter, they escorted Carleton to Antwerp, where he visited artists' studios, including Rubens's. Carleton decided to purchase The Wolf and Fox Hunt with help from Matthew, Gage and William Trumbull, but negotiations fell through when Rubens sold the painting to the Duke of Aarschot. However, Rubens agreed to paint a smaller version for Carleton in exchange for a chain of diamonds.[10]
Rubens said in correspondence with Carleton that he had "repurchased" the painting, suggesting that it may have also been sold to an unknown buyer before this point.[6] Rubens negotiated with Carleton to sell the painting along with works by his assistants, possibly including some painted by Jan Brueghel the Elder, in exchange for antique statues. Initially, Rubens offered 23 paintings, but Carleton only wanted those painted entirely by Rubens, including Prometheus Bound, as well as 3,000 guilders' worth of tapestries. Rubens negotiated to include more paintings for Carleton in exchange for an additional 1,000 guilders. They settled at that price, and Rubens exchanged his paintings and 2,000 guilders for the statues. Rubens saw this deal as a loss, with Carleton as the winner.[4] This negotiation was recorded in a letter to Carleton on 28 April , 1618.[11]
In 1628, Carleton presented the painting to Charles I of England in order to advance his career as Secretary of State. The painting was displayed in the Bear Gallery at the Palace of Whitehall from around 1628 to 1641, in the formal reception area leading to Charles' private chambers, as a symbol of his royal authority. The painting was hung alongside Minerva Protecting Peace from Mars, which Rubens had gifted to Charles during his diplomatic mission to London between May 1629 and March 1630.[7]
Charles I gave the painting to his first cousin, James Hamilton, 1st Duke of Hamilton. The painting likely served as a symbol of Hamilton's authority as the king's representative in Scotland during the Bishops' Wars.[7] It remained at Hamilton Palace in Scotland until 1882, when it was part of the Hamilton Palace sale that was held atChristie, Manson & Woods on the first day of the sale on 17 June, 1882. The painting was bought for £3,145 by Duncan.[12] Duncan bought this painting for Christopher Beckett Denison.[13] Denison is Member of Parliament from Conservative Party for Eastern West Riding of Yorkshire from 1868 till 1880.[14] This sale took place during the lifetime of William Douglas-Hamilton, 12th Duke of Hamilton.[15]
At 1885, the painting was bought back by Jamieson for the Hamilton family from Denison, at a cost of £2,100.[16] The painting was inherited by Alfred Douglas-Hamilton, 13th Duke of Hamilton and included again in the second sale of the Hamilton palace in 1919.[15] In this sale, the painting was sold for £2,520.[17] The painting was purchased by Keatley for Weetman Pearson, 1st Viscount Cowdray. The painting was inherited multiple times until it came to Weetman Harold Miller Pearson, 2nd viscount Cowdray, and then to his son, John Pearson, 3rd Viscount Cowdray until it was sold in 1963.[18]
The Cowdray family believed it was just a copy. Cause of the size and the frame, they took it to Bonhams and the auction house misattribute the work as work from Paul de Vos and Jacob Jordaens cause because "stumpy legs" in the Daniel figure which was thought to be their characteristic. Julius H. Weitzner, a dealer from New York saw a photo of the painting before the catalog came out and immediately offered $1,400 to Bonhams, which they accepted and made the painting taken off the auction. When the catalog released, other dealers recognized it as the missing work of famous artist Peter Paul Rubens. The other dealer try to prevent the export license from being granted in Britain, but the painting was already halfway to New York. In December 1965, Weitzner sold the painting for over $400,000.[19] It was sold by M. Knoedler to National Gallery of Art in Washington D.C. on 13 December, 1965, where it now hangs.[15]
Exhibition
[edit]The painting was exhibited on 1873 at the Winter Exhibition of the Royal Academy of Arts in London, where it was listed as no. 131 among the works of Old Masters. [20] It was placed on the chief room and lent by James Hamilton.[21]
Description
[edit]The size of the painting is approximately 224 cm (88 in) x 330 cm (130 in), and is painted in oil paint on canvas.[22] According to the National Gallery of Art, it combines "realism and theatricality" to draw a "strong emotional reaction". Several of the lions in the painting seem to stare directly at the viewer, which can make the viewer feel that they are invading the lions' space, just as Daniel is doing. The lions were painted life-size to heighten their immediate menace.[15]
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The subject is from the Book of Daniel, 6:1–28. Rubens may have based the lioness on a Renaissance bronze sculpture from Padua, but he stated in his letter to Carleton that both the lions and the leopards were "done from life". Rubens had access to exotic animals due to his role as a court painter; Dutch painter Jacob Campo Weyerman recounted an occasion in Ruben's studio when Rubens tickled a lion to make it open its mouth and provide the right expression to be studied.[6] The lion itself may be a Moroccan subspecies which was already extinct in the wild at the time that the painting was created.[23]
The painting shows Daniel as a young man.[15] However, according to Biblical chronology, Daniel would have been over 80 years old at the time of the incident.[24] Although the painting shows Daniel praying, this detail is not included in Daniel chapter 6, but it is mentioned in the deuterocanonical Chapter 14.[25]
References
[edit]- ^ Gustaaf Segers, De moeder van Rubens. Biographische schets in: De Vlaamsche Kunstbode. Jaargang 7 (1877), pp. 211-216 (in Dutch)
- ^ Belkin, Kristin Lohse (1998). Rubens. Internet Archive. London : Phaidon. p. 17. ISBN 978-0-7148-3412-2.
- ^ "Daniel in the Lions' Den - Sir Peter Paul Rubens". Google Arts & Culture. Retrieved October 9, 2024.
- ^ a b Harris, Ann Sutherland (2005). Seventeenth-century Art & Architecture. Laurence King Publishing. p. 160. ISBN 978-1-85669-415-5.
- ^ Libby, Alexandra (May 23, 2019). "Rubens in the Royal Menagerie". FAMSF. Retrieved October 9, 2024.
- ^ a b c d Woollett, Anne T.; Suchtelen, Ariane van (2006). Rubens & Brueghel: A Working Friendship. Getty Publications. pp. 196–197. ISBN 978-0-89236-848-8.
- ^ a b c d Pollack, Rachel Aviva (2015). Peter Paul Rubens' Daniel in the Lions' Den: Its Sources and Its Political Significance. UMD Theses and Dissertations (Thesis). doi:10.13016/m2s918. hdl:1903/16621.
- ^ Redditt, Paul L. (2008). Introduction to the Prophets. Wm. B. Eerdmans Publishing. pp. 181–182. ISBN 978-0-8028-2896-5.
- ^ Seow, Choon Leong (2003). Daniel. Westminster John Knox Press. pp. 85–86. ISBN 978-0-664-25675-3.
- ^ Hill, Robert; Bracken, Susan (July 1, 2014). "The ambassador and the artist: Sir Dudley Carleton's relationship with Peter Paul Rubens: connoisseurship and art collecting at the court of the early Stuarts". Journal of the History of Collections. 26 (2): 171–191. doi:10.1093/jhc/fht042. ISSN 0954-6650.
- ^ Logan, Anne-Marie S.; Rubens, Peter Paul; Plomp, Michiel; N.Y.), Metropolitan Museum of Art (New York (2005). Peter Paul Rubens: The Drawings. Metropolitan Museum of Art. p. 167. ISBN 978-0-300-10494-3.
- ^ Christie, Manson & Woods (1882). The Hamilton Palace collection : illustrated priced catalogue. Library Philadelphia Museum of Art. Paris : Librairie de l'art ; London : Remington and Co. p. 22.
- ^ Hulst, Roger Adolf d'; Hulst, Roger Adolf d'; Vandenven, M.; Rubens, Peter Paul (1989). Rubens: The Old Testament. Harvey Miller. p. 187. ISBN 978-0-905203-64-5.
- ^ Gordon, Peter (February 16, 2006). Politics and Society: The Journals of Lady Knightley of Fawsley 1885-1913. Taylor & Francis. p. 65. ISBN 978-1-134-26905-1.
- ^ a b c d e "Daniel in the Lions' Den". National Gallery of Art. Retrieved September 15, 2011.
- ^ Redford, George (1888). Art sales. A history of sales of pictures and other works of art. With notices of the collections sold, names of owners, titles of pictures, prices and purchasers, arranged under the artists of the different schools in order of date. Including the purchases and prices of pictures for the National Gallery. Illustrated with autotypes from small sketches of great pictures & water-colour drawings sold, portraits of eminent collectors and views of their residences, objects of ornamental art, &c., &c. Getty Research Institute. London [Bradbury, Agnew, & co., printers, the "Whitefriars" press]. p. 323.
- ^ "Hamilton Palace : dispersal and demolition". hamilton.rcahms.gov.uk. Retrieved September 25, 2024.
- ^ Wheelock, Arthur K. (2005). Flemish Paintings of the Seventeenth Century. National Gallery of Art. p. 163. ISBN 978-0-89468-348-0.
- ^ Gammon, Martin (July 24, 2018). Deaccessioning and Its Discontents: A Critical History. MIT Press. p. 224. ISBN 978-0-262-03758-7.
- ^ Winter Exhibition. Royal Academy of Arts. 1873. p. 14.
- ^ Architect. 1879. p. 10.
- ^ Tuschka, Alexandra (April 26, 2022). "Peter Paul Rubens - Daniel in the Lion's Den". the artinspector US. Retrieved September 16, 2024.
- ^ "Sir Peter Paul Rubens (Flemish, 1577-1640)". www.nga.gov. Retrieved December 8, 2024.
- ^ Boice, James Montgomery (2006). Daniel: An Expositional Commentary. Baker Books. p. 68.
- ^ Xeravits, Géza G. (2019). From Qumran to the Synagogues: Selected Studies on Ancient Judaism. Walter de Gruyter GmbH & Co KG. p. 265. ISBN 978-3-11-061561-6.
