Lot en zijn dochters c. 1630

Curator: Ah, "Lot and His Daughters," an engraving from around 1630. It’s a baroque print, intaglio—the old engraving style gives it this striking contrast. What catches your eye about this one? Editor: The moment depicted is pretty disturbing. There’s something unsettling in the composition itself – a palpable sense of claustrophobia. The women are physically close to Lot but emotionally distant. I am curious: what story does it want to convey to the contemporary public? Curator: Indeed. The original painter’s dramatic chiaroscuro translates beautifully into the stark contrasts of engraving. Melchior Tavernier clearly aimed to amplify the story's inherent drama through shadow and line. This image reflects its era’s fascination with morality tales – but with a decidedly ambiguous spin, don't you think? Is this divine judgment, a study in human depravity, or… something in between? The daughters almost appear predatory, while Lot is seemingly unaware of what is unfolding! The cup that he holds in his hand becomes central to that. Editor: Absolutely. And what do you think the cup symbolizes? A literal goblet or an extended metaphor? Curator: The cup? It is that fatal wine…It is temptation but also oblivion, isn't it? You can look into those hollow eyes, in that almost lost posture! Are those biblical themes just fodder for showcasing technical skill and an almost theatrical emotional depth? Food for thought. Editor: Definitely. It seems much darker than I initially perceived, much less preachy and more…psychologically tangled. I feel there’s a tension here between moral judgment and maybe almost enjoying depicting forbidden themes. Curator: Exactly! The piece speaks of forbidden themes and almost revels in that complexity.