Pisa, Italy, 1563-London, United Kingdom, 1639
Oil on canvas, 226 x 282 cm
Acquired in 1924
In 1626 King Charles I of England invited Gentileschi to London and commissioned several large-scale canvases from him. This work was one of them and relates the biblical passage in which Lot, having learnt of the destruction of Sodom, flew with his family. On the way his wife, depicted in the landscape as a minute figure, was transformed into a statue of salt when she disobeyed divine orders and turned back to look at the city in flames. Lot and his daughters took refuge in a cave where, in the fear of being left alone in the world, the girls intoxicated and seduced their father in order to bear his children. Gentileschi subtly suggests the eroticism of this delicate subject, symbolically brought into play in the context of the dynastic concerns of the English court, although he had depicted the subject previously in Genoa. The vine, the jug and the spilt wine allude to Lot’s inebriation in this open and elaborate composition, in which the three almost life-size figures stand out against the dark ground thanks to a dramatic lighting. The nuances of Lot’s iridescent robe and of the mantle worn by one of his daughters, painted in bright ultramarine, are rendered with great skill. During this London period Gentileschi’s painting evolved towards a refined colourful style, as exemplified by this magnificent work. In 1628 the painting was hung in Whitehall Palace and was subsequently taken to Greenwich Palace on the express wish of Queen Henrietta Maria, wife of Charles I. In the early seventeenth century Gentileschi met Caravaggio in Rome and became one of his most distinguished disciples, capturing his style with greater elegance and less tenebrism than other followers. After working in Rome, Genoa and Turin, and subsequently in Paris in the service of Maria de’ Medici, he eventually took up residence in London. [A.S.L.]
Independently of its permanent collection, the Bilbao Fine Arts Museum regularly organises temporary exhibition programmes.
Please consult the exhibition calendar for more information about the museum's latest proposals.
Basque sculptor Néstor Basterretxea (Bermeo, Biscay, 1924) recently donated one of the most celebrated series of Basque sculptures dating from the second half of the XX century to the Museum: the Basque Cosmogony Series. The Series was first exhibited by the Museum in 1973.
The current exhibition comprises 18 sculptures, 17 of which are made of oak and 1 of bronze, which the artist created between 1972 and 1975. The finely crafted works executed in contemporary language are based on mythological characters, forces of nature and traditional objects from Basque culture taken from José Miguel de Barandiarán’s Diccionario de Mitología Vasca (Dictionary of Basque Mythology, 1972). Visitors will also have the opportunity of admiring 5 works from the Máscaras de la Madrina Luna Series created in 1977 as well as several preparatory drawings.
It is also on exhibition two movies directed by Néstor Basterretxea and Fernando Larruquert, entitled Pelotari (1964) and Ama Lur (1968), and a documental about the artist.
BASQUE COSMOGONY SERIES
1. AKELARRE and AKER BELTZ (Black billy goat)
Meadow where wizards met on Monday, Wednesday and Friday nights to worship Aker Beltz, a spirit which took the shape of a billy goat and protected the livestock. Pagan tradition.
3. EIZTARIA (The hunter)
Legend has it that a hunter, punished for his excessive love of hunting, wanders ceaselessly over the mountains with his dogs.
4. GAUEKO (He who stalks the night)
Spirit of the night in the shape of a cow or a monster; his presence is marked by gusts of wind.
5. IDITTU (Night spirit)
Night spirit with the form of an animal; his presence is marked by a flame.
6. ILLARGI AMANDRE (Godmother Moon)
A divinity associated with fertility.
7. INTXIXU (Wild demon)
Legendary spirit haunting caves and deserted areas.
8. AMALAU ZANKO (The ghost of the fourteen stilts)
A strange malignant being.
9. ARGIZAIOLA eta ARGIZAIOLA ZUTA (Light of the dead)
Tablets in remembrance of the departed; the wax scroll symbolizes the fire in the hearth that lives on in the temple.
11. BOST HAIZEAK (The five winds)
Natural phenomenon. The lauburu (four heads) is a pre-Christian symbol, used from the 16th and 17th centuries in funeral steles, on houses fronts or as an amulet or charm.
12. EATE (The harvest destroyer)
Spirit of storms, fire, floods, lightning and hurricanes.
13. MAIRUAK (The cromlech builders)
Pagan builders of dolmens and cromlechs.
14. OSTADAR (Rainbow)
Natural phenomenon considered to be magical in the ancient world.
15. TRIKU HARRI (Stone of the hedgehog. Homage to the dolmen)
Name of a dolmen, a prehistoric monument widely found in the Basque Country.
16. MAJUE (Subterranean spirit)
Pernicious underground spirit; with his wife Mari he conjures up hailstorms.
17. MARI (Main goddess of Basque Mythology)
Female spirit living in caverns. Legend has it that her cave is one of the faces of Mount Amboto, in the Duranguesado area.
18. TORTO (Malign one-eyed spirit)
Malignant, man-eating spirit with one eye.
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05|16|14 • 09|01|14
06|10|14 • 09|15|14
10|07|14 • 01|19|15
THE GUEST WORK
04|09|14 • 06|30|14
02|18|14 • 05|19|14
01|24|14 • 04|28|14