얀 마시스의 "롯과 그의 딸들"
Jan MASSYS(1510-1575), Lot and His Daughters, 1565
롯의 역사는 창세기 19장 1절에서 38절에 기록되어 있다.
하나님의 명령으로 소돔과 고모라 2 도시가 막 파괴되려할 때
천사가 와서 가족과 함께 이곳을 떠나라고 경고하였다.
뒤를 돌아보지 말라고 경고하였음에도
롯의 아내는 불타는 소돔도시를 뒤돌아 보았기 때문에
소금기둥으로 변하고 말았다.
롯과 그의 딸들은 피난처 동굴에 도착하였다.
지구상에 후손이 없이 그들만이 있게 될 것을 두려워한 나머지
두딸은 그들의 아버지를 술 취하게 하고
아버지를 유혹하기로 결정하였다.
이 그림의 주제는 후반부 일화를 형상화 한 것이다.
구성상 중앙에 언니되는 여인이 반라의 몸으로
늙은이 롯의 무릎에 앉아있다.
그들 옆에 동생이 정중하게 포도주 잔을 권하고 있다.
천사가 롯과 그의 가족을 도피하도록 돕고 있을 때
좌측에는소돔이 불타고 있고
오른쪽에는 고모라 역시 화염에 휩싸여 있다.
그들 앞부분에 작은 도시가 재난을 피해 있다.
이 도시가 그들이 처음 피난처였던 소알인것으로 보인다.
The history of Lot is taken from Genesis (19. 1-38).
When the cities of Sodom and Gomorrah
were about to be destroyed at God's order,
angels came and warned Lot to flee with his family.
Despite being warned not to, his wife looked back
at the burning city of Sodom and was turned into a pillar of salt.
Lot and his daughters then took refuge in a cave.
Afraid of finding themselves alone on earth and without descendants,
Lot's daughters decided to get their father drunk and to seduce him.
This latter episode forms the main theme of the painting.
At the centre of the composition, the elder sister, half naked,
is seated on the knees of the old man Lot.
Alongside them, the younger sister gracefully proffers a cup of wine.
To the left, Sodom is in flames, whilst the angels are helping
Lot and his family to escape; to the right, Gomorrah also is in flames,
and facing us, a little city has escaped the disaster.
This is probably Zoar, where the family had first taken refuge.
Old Testament subjects, until then considered essentially
as prefigurations of the New Testament,
enjoyed an unprecedented success in the 16th century,
in particular as the Reformation encouraged the direct reading of the Bible.
In the moral literature of the time,
the story of Lot and his daughters served primarily to illustrate
the pernicious power of women
and the disastrous consequences of drunkenness
(according to the Bible, Lot was unaware of anything).
The subject matter also furnished an example of unequally aged couples,
a fashionable theme at the time. In the picture,
the incestuous act is symbolised by the lizard,
an impure animal, in the lower left-hand corner.
Similarly, the fruit that the younger sister is carrying
in her laps evokes desire.
The slim, well-figured shapes of the young women,
their milky-coloured skins and their languid gestures give off,
however, a latent eroticism which is not unambiguous.
The work was undoubtedly intended for a private residence.
Here Jan Massys reaches the peak of his art.
The elegance of the poses and
the pronounced taste for sophisticated jewellery
and hairdresses reveal the influence of the Fontainebleau school
where the artist possibly lived,
after being banished from Antwerp (1544-55)
under suspicion of sympathising with the Reform movement.
The painter was to handle the theme two other times,
in particular in paintings conserved at Vienna (dated 1563)
and at Cognac.
FURINI, Francesco (b. 1600, Firenze, d. 1646, Firenze)
Lot and his Daughters
GENTILESCHI, Orazio (b. 1563, Pisa, d. 1639, London)
Lot and his Daughters, c. 1621
GOLTZIUS, Hendrick (b. 1558, Mühlbrecht, d. 1617, Haarlem),
Lot and his Daughters, 1616
LUCAS van Leyden (b. 1494, Leiden, d. 1533, Leiden)
Lot and his Daughters, c. 1520
Joachim Wtewael, Lot and his Daughters , Between 1603 and 1608
Wtewael, Joachim , Lot and his Daughters , Circa 1600