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©
Museo Nacional Thyssen-Bornemisza, Madrid
François de Nomé

Daniel in the Lion's Den

1624
Oil on canvas.
36.5 x 46 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
128
(
1976.59
)
Not on display
  • Level 2 Permanent Collection
  • Level 1 Permanent Collection
  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
  • Level -1 Temporary exhibition rooms, Conference room and EducaThyssen workshop
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms: Ayako Rokakku 54 Postpop rooms: Ayako Rokakku 55 Postpop rooms: Ayako Rokakku 56 Postpop rooms: Ayako Rokakku Rodin Exhibition room
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL
Level -1
Temporary exhibition rooms, Conference room and EducaThyssen workshop
Temporary exhibition rooms Conference room EducaThyssen Workshop
François de Nomé was a French artist who moved when very young to Italy, where he trained and worked. At the age of eleven he is documented in Rome where he studied with a Maestro Baldassare who has been tentatively identified as the Flemish painter Balthazar Lauwers. A recent series of studies has distinguished him from Didier Barra, an artist with whom he collaborated in Naples on the decoration of a series of altarpieces for the city, which were attributed to a painter named Monsù Desiderio. François de Nomé formulated a highly individual style that has echoes of the Mannerism of Giulio Romano, particularly his work for the Palazzo del Te in Mantua, as well as aspects of Paul Bril’s landscape paintings and more quirky elements derived from Hans Vredeman de Vries and Antonio Tempesta.

Art historians have separated the work of De Nomé, who produced views and scenes of cities, into two distinct types: one comprising compositions of invented, fantastical architecture used as settings for biblical narratives, and the other of street scenes and church interiors. The present oil on canvas, which is dated 1624 on a rock in the centre, is a work of the first type. De Nomé chose a celebrated episode from the life of Daniel, recounted in slightly different versions in the Old Testament and Old Testament Apocrypha, locating it in one of his typical settings that here represents the city of Babylon where the story took place. Daniel was thrown into a pit with seven lions on the order of King Cyrus, who had been turned against Daniel by his courtiers. According to the text, Daniel remained there for a week, during which time the animals were not fed with the intention that they would eat Daniel. However, an angel of the Lord brought the prophet Habakuk from Judah, where he lived, to Babylon, with the mission of aiding Daniel by bringing him food. This is the moment depicted by De Nomé, in which we see the principal figures almost lost within the immensity of the setting. Daniel is seated on the right on a huge slab, surrounded by four lions and raising his head towards the surprising and fantastical apparition of the angel lowering down Hababuk by his hair with the supplies that he has brought wrapped in a small bundle. The immense setting, in which the figures almost disappear, consists of the classical and Gothic ruins of a city decorated with a wealth of sculptures. Notable among them is an allegory of Abundance, identifiable from the cornucopia that the statue is holding. Constructed from a complex interplay of vertical and diagonal lines of the façades, ramps and bridges, the ruined city has a desolate air whose mood is emphasised by the artificial lighting and the monochromatic palette, applied with thickly charged brushstrokes in the most brightly lit areas.

The setting has been compared to the one in Jonah and the Wale in the Daninos collection in Florence, and A ruined City in the Menil collection, Houston. De Nomé also repeated the subject in a canvas in a private collection in Naples, but with different results and a different approach to the theme.

Mar Borobia
17th Century17th Century - French paintingPaintingOilcanvas
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Daniel in the Lion's Den. Daniel en el foso de los leones, 1624
Daniel in the Lion's Den
François de Nomé

©

Museo Nacional Thyssen-Bornemisza, Madrid

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Daniel in the Lion's Den. Daniel en el foso de los leones, 1624
Daniel in the Lion's Den
François de Nomé

©

Museo Nacional Thyssen-Bornemisza, Madrid

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