Daniel in the Lions' Den

c. 1614/1616

Sir Peter Paul Rubens

Artist, Flemish, 1577 - 1640

A nearly nude, muscular man with pale, peachy skin sits in an underground cave among seven male and two female lions in this horizontal painting. The man sits to our right of center with his legs crossed, elbows close to his body with hands clasped by his chest. His head tips back to look up through a small opening above. He has long, wavy, chestnut-brown hair and dark eyes. A white cloth wraps across his hips, and he sits on a scarlet-red swath of fabric draped up over a rock next to him. The nine lions stalk, sit, or lie down around the man. One male lion next to the man, to our left, opens his mouth with his head thrown back, curling tongue extended beyond long fangs. A human skull and other bones are strewn on the dirt ground close to us. The rocky cave curves up around the animals and man to a narrow, round opening showing blue sky above.

Media Options

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Peter Paul Rubens’s enormous painting, based on the Old Testament story of Daniel, puts us right in the lions’ den. The Jewish youth was condemned to spend the night with the brutal beasts for worshipping his God rather than the Persian king Darius. Will he survive? The pacing animals might attack the frantically praying Daniel at any minute. Their realistic fur makes our own hair stand on end. We can only hope that the light encircling Daniel ensures his safety—and miraculously, it does. This story of faith, theatrically portrayed at such a grand scale, was meant to encourage passion and piety.

Daniel in the Lions' Den (English)
View Tour Stop
On View

West Building Main Floor, Gallery 45


Artwork overview

  • Medium

    oil on canvas

  • Credit Line

    Ailsa Mellon Bruce Fund

  • Dimensions

    overall: 224.2 x 330.5 cm (88 1/4 x 130 1/8 in.)
    framed: 267.97 × 374.65 × 15.24 cm (105 1/2 × 147 1/2 × 6 in.)
    framed weight: 113.399 kg (250 lb.)

  • Accession

    1965.13.1

More About this Artwork

Video:  Peter Paul Rubens's "Daniel in the Lions' Den" (ASL)

This video provides an ASL description of Sir Peter Paul Rubens's painting, Daniel in the Lions' Den


Artwork history & notes

Provenance

Sir Dudley Carleton, 1st viscount Dorchester [1573-1632], English Ambassador to The Hague, who acquired the painting in 1618 from the artist in an exchange for antique sculpture; presented to Charles I, King of England [1600-1649], between c. 1625 and 1632, where it hung in the Bear Gallery at Whitehall;[1] James Hamilton-Douglas, 1st duke of Hamilton [1606-1649], Hamilton Palace, Scotland, by 1643; by descent in his family to William Alexander Louis Stephen Hamilton-Douglas, 12th duke of Hamilton [1845-1895], Hamilton Palace; (first Hamilton Palace sale, Christie, Manson & Woods, London, 19 June 1882, no. 80); purchased by Duncan for Christopher Beckett Denison; (his sale, Christie, Manson & Woods, London, 13 June 1885, no. 925); purchased by Jamieson for the 12th duke of Hamilton; by inheritance to his kinsman, Alfred Douglas Hamilton-Douglas, 13th duke of Hamilton [1862-1940], Hamilton Palace; (second Hamilton Palace sale, Christie, Manson & Woods, London, 6-7 November 1919, 1st day, no. 57); purchased by Kearley for Weetman Dickinson Pearson, 1st viscount Cowdray [1856-1927], Cowdray Park, Midhurst, Sussex; by inheritance to his son, Weetman Harold Miller Pearson, 2nd viscount Cowdray [1882-1933], Cowdray Park; by inheritance to his son, Weetman John Churchill Pearson, 3rd viscount Cowdray [1910-1995], Cowdray Park; (sale, Bonhams, London, 1 August 1963, no. 25, listed as by Jordaens and De Vos by Bonhams' cataloguer, Mr. Lawson); withdrawn and sold by private treaty before the auction to (Julius H. Weitzner [1896-1986], New York); (M. Knoedler & Co., New York); sold 13 December 1965 to NGA.
[1] See Oliver Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty the Queen, London, 1963: 16. According to the Van der Doort inventory of circa 1639 (Oliver Millar, ed., Abraham van der Doort's Catalogue of the Collections of Charles I [The Walpole Society 37], Glasgow, 1960:, 4), the picture was given "by the deceased Lord Dorchester" (Sir Dudley Carleton died on 5 February 1632). The painting is not mentioned in an inventory made of Prince Charles' paintings collection around 1623/1624 (see Claude Phillips, The Picture Gallery of Charles I, London, 1896: 24).

Associated Names

Exhibition History

1873

  • Exhibition of the Works of the Old Masters. Winter Exhibition, Royal Academy of Arts, London, 1873, no. 131.

1899

  • Exhibition of Pictures by Masters of the Flemish and British Schools including a selection from the works of Sir Peter Paul Rubens, The New Gallery, London, 1899-1900, no. 145.

1969

  • In Memoria, Ailsa Mellon Bruce, National Gallery of Art, Washington, D.C., 1969, no cat.

2019

  • Early Rubens, Fine Arts Museums of San Francisco, de Young, Legion of Honor, San Francisco; Art Gallery of Ontario, Toronto, 2019 - 2020, unnumbered catalogue, repro.

Bibliography

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 118.

1966

  • Walton, William. "Parnassus on Potomac." Art News 65 (March 1966): repro. 37.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 105, repro.

1970

  • Jaffé, Michael. "Some Recent Acquisitions of Seventeenth-Century Flemish Painting." Studies in the History of Art 1969 3 (1970): 6-19, fig. 1.

1975

  • European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 314, repro.

1978

  • King, Marian. Adventures in Art: National Gallery of Art, Washington, D.C. New York, 1978: 44-45, pl. 21.

1979

  • Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 66, pl. 49.

1982

  • Alsop, Joseph. The Rare Art Traditions: The History of Art Collecting and Its Linked Phenomena Wherever These Have Appeared. Bollingen series 35, no. 27. New York, 1982: 48.

1984

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 250, no. 317, color repro.

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 362, repro.

1992

  • National Gallery of Art, Washington. National Gallery of Art, Washington, 1992: 49, repro.

2004

  • Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 220-221, no. 175, color repro

2005

  • Wheelock, Arthur K., Jr. Flemish Paintings of the Seventeenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 2005: 166-174, color repro.

2013

  • Harris, Neil. Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience. Chicago and London, 2013: 82.

  • Haskell, Francis. The King's Pictures: The Formation and Dispersal of the Collections of Charles I and His Courtiers. Edited by Karen Serres. New Haven and London, 2013: 129, fig. 131, 231.

2020

  • Wheelock, Arthur K. Jr. “Pleasure and Prestige: The Complex History of Collecting Flemish Art in America.” In America and the Art of Flanders: Collecting Paintings by Rubens, Van Dyck, and Their Circles, edited by Esmée Quodbach. The Frick Collection Studies in the History of Art Collecting in America 5. University Park, 2020: 17, 138 color fig. 80.

  • Libby, Alexandra. “From Personal Treasures to Public Gifts: The Flemish Painting Collection at the National Gallery of Art.” In America and the Art of Flanders: Collecting Paintings by Rubens, Van Dyck, and their Circles, edited by Esmée Quodbach. The Frick Collection Studies in the History of Art Collecting in America 5. University Park, 2020: 130, 132, 138 color fi. 80, 139, 140, 188 nt. 39.

  • Wheelock, Arthur K., Jr. Clouds, ice, and Bounty: The Lee and Juliet Folger Collection of Seventeenth-Century Dutch and Flemish Paintings. Exh. cat. National Gallery of Art, Washington, D.C., 2020: 24, fig. 7, 25.

Wikidata ID

Q8353711


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