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Daniel in the Lions' Den
c. 1614–1616 · oil on canvas · National Gallery of Art, Washington
Sizes
image 20×13.5 in on a 20×16 in sheet
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Dots per inch: how many pixels of the museum’s file go into each inch of paper. Our floor is 240 for sheets up to 20 inches, 180 up to 36 inches and 120 beyond, because a larger print is seen from further away. We never offer a sheet below the floor, and the number on each size is the one you receive.
Hahnemühle Photo Rag, 308 gsm cotton rag · pigment inks · printed to order
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All editionsAbout this painting
Lions lie and stand all round him, and one throws back its head to roar, and none has touched him. Daniel sits with his legs crossed and his hands clasped at his chest, his face turned up to the one opening of sky above the den; the National Gallery of Art calls it the only link to the world outside. Bones and a skull lie on the floor. Rachel Pollack notes that the story was read as a prefiguration of the Resurrection, the den standing to the tomb, which makes that opening the mouth of a tomb and, in her reading, the skull the alternative. She traces the pose to the antique Dying Alexander. No church patron is recorded: Rubens traded the canvas to the diplomat Dudley Carleton around 1618 for antique sculpture. "My God hath sent His angel, and hath shut up the mouths of the lions."
Sources: National Gallery of Art, Washington, Rubens, 'Daniel in the Lions' Den', object description. · National Gallery of Art, Washington, Rubens, 'Daniel in the Lions' Den', provenance. · Rachel Aviva Pollack, "Peter Paul Rubens' Daniel in the Lions' Den: Its Sources and Its Political Significance," M.A. thesis, University of Maryland, 2015 · Rachel Aviva Pollack, "Peter Paul Rubens' Daniel in the Lions' Den" (thesis, University of Maryland).
My God hath sent his angel, and hath shut up the mouths of the lions, and they have not hurt me: forasmuch as before him justice hath been found in me: yea, and before thee, O king, I have done no offence.
Daniel 6:22 · Douay-Rheims (Challoner)