Abraham Bloemaert (1566–1651) Lot’s daughters make their father drunk (Genesis 19:33), 1624, Oil on canvas, 167x 233 cm, The National Gallery, London
For many years, the painting was attributed to different artists, including Peter Paul Rubens, Jacob Jordaens, and Hendrick Bloemaert. This misattribution lasted until a significant turning point in 2004 when the painting was sold at Sotheby’s. A hidden signature and date were revealed during its subsequent restoration, confirming Abraham Bloemaert as the true artist.
The painting narrates the Old Testament story from Genesis 19:33, where Lot’s daughters, believing they are the last humans on earth after the destruction of Sodom, intoxicate their father to conceive offspring and ensure the continuation of the human race. In the 17th century, this story was used theologically to convey the belief that events, even those involving moral ambiguity, happen for a reason under divine providence. Lot’s daughters bore two sons, Moab and Ben-Ammi, who became the founders of the Moabite and Ammonite tribes, respectively. These tribes played significant roles in the history of Israel. From the Moabite line, Ruth emerged, who is considered an ancestress of King David and, according to some 17th-century theologians, Jesus Christ. This lineage underscores the theological belief that divine plans are at work even in morally complex situations, and greater outcomes can emerge.
The painting would also have been understood as a moral lesson on the dangers of female seduction and the consequences of alcohol. Bloemaert’s interpretation diverges from typical Mannerist depictions, which often focus on sensuality. He portrays Lot and his daughters as psychologically detached, emphasising the moral and ethical dilemmas of the story. Lot is depicted looking hazily towards the ground, unaware of the unstable cup in his hand, with a wide-brimmed hat casting a shadow over his eyes, symbolising his obliviousness to his daughters’ intentions. The background features the burning city of Sodom, reinforcing the narrative’s dramatic context. The fate of Lot’s wife, turned into a pillar of salt, is also visualised.