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Lot and his Daughters leaving Sodom

Guido Reniabout 1615-16

The National Gallery, London

The National Gallery, London
London, United Kingdom

Lot and his daughters are shown fleeing the sinful city of Sodom, forewarned by God of its destruction (Genesis 19). The family are in a moment of conversation, perhaps contemplating their next move. Conspicuously absent are details typically associated with the subject, such as Sodom burning in the background or elements of eroticism, alluding to the daughters' later seduction of their father (an attempt to continue their family’s bloodline). Instead, the trio are fully clothed, sober and chaste.

This painting was made in the aftermath of Reni’s return to Bologna from Rome, where he had lived and worked for more than a decade; the statuesque figures and solid handling of paint are illustrative of the style that he had developed there. Since the mid-seventeenth century, this painting has been regarded as a companion piece to Susannah and the Elders (also in the National Gallery’s collection). Though similar in format and both illustrating moralising tales, the two were painted a few years apart, and were not originally intended as a pair.

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  • Title: Lot and his Daughters leaving Sodom
  • Creator: Guido Reni
  • Date Created: about 1615-16
  • Physical Dimensions: 111.2 x 149.2 cm
  • Medium: Oil on canvas
  • School: Italian (Bolognese)
  • More Info: Explore the National Gallery’s paintings online
  • Artist Dates: 1575 - 1642
  • Artist Biography: Reni was trained by Denys Calvaert, and then probably in the Carracci workshop. He spent 1602-13 in Rome, where Domenichino had also arrived. Reni is reputed to have met (and quarrelled with) Caravaggio there. Many of his best known works were painted in Rome, including the ceiling fresco, 'Aurora' (Casino Rospigliosi), carried out before 1614 for Cardinale Scipione Borghese. By 1613 Reni had returned to Bologna, and was largely active there until his death. He ran a busy studio engaged on commissions from many Italian cities.
  • Acquisition Credit: Bought, 1844
The National Gallery, London

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