Daniël in de leeuwenkuil c. 1613 - 1665

Curator: Here we have a captivating charcoal drawing, "Daniël in de leeuwenkuil," or "Daniel in the Lions' Den," attributed to Willem van der Leeuw, likely created sometime between 1613 and 1665. Editor: It's just… wow. That intense charcoal work! You can almost smell the breath of those lions! There's Daniel, centered and illuminated, radiating a desperate serenity, surrounded by a whole pride of predators, and yet the piece, rather than terror, somehow speaks to a certain hope, to quiet survival. Curator: Precisely! The drama is palpable, isn't it? This drawing really engages with the popular biblical story of Daniel, imprisoned overnight in a den full of lions. According to the narrative, his faith protected him from harm. Editor: Absolutely. I notice that he sits very casually among the lions; not exactly reclining, but comfortable-ish. The positioning has got my wheels spinning: Do you think this comfort suggests less fear and more, maybe, of the sublime and finding beauty even in places that scare the living daylights out of you? I mean, who hasn’t been there? Curator: An insightful reflection. Consider the period: History paintings, even those rendering biblical events, had an important public role. Artists weren’t just illustrating scripture; they were often commenting on contemporary social structures and moral virtues. Daniel's unwavering faith could easily have been seen as an allegory for steadfastness during times of political and religious upheaval. Editor: Mmhmm! Look at how the darkness around the lions presses inward. Even the bright patch above Daniel has a certain menace in its stark lighting. There's the odd inclusion of the skull in the lower-left, which provides an interesting contrast. I do wish the Daniel wasn't looking towards that patch, the lines would be much better with that added dread, almost calling down the weight of the unknown. Curator: That use of chiaroscuro – the contrast between light and shadow – is absolutely key. The unknown pressing inwards, indeed! It not only enhances the visual drama but also subtly suggests that the true source of both danger and salvation comes from something beyond human comprehension. Editor: Well, this drawing has certainly given me something to think about... faith, fear, and the occasional friendly lion. I might think differently next time I go to the Zoo... Curator: Indeed, the power of visual narratives and art to open discussions on social life cannot be understated, and this work offers a powerful reflection of its period.