Who painted Daniel in the Lion’s Den?

Daniel in the Lion’s Den was painted by Adriaen Collaert in 1584.

Where can I see Daniel in the Lion’s Den?

Daniel in the Lion’s Den is held by National Gallery of Art.

What movement is Daniel in the Lion’s Den?

Daniel in the Lion’s Den is associated with Renaissance.

Artwork

Daniel in the Lion’s Den

Adriaen Collaert , 1584

Daniel in the Lion’s Den is an ink print by the Renaissance artist Adriaen Collaert. It dates from 1584 and is held in the collection of the National Gallery of Art.

About this work

Overview

Adriaen Collaert’s engraving titled Daniel in the Lion’s Den dates to around 1584. Executed on laid paper, the print measures roughly a modest size and is part of the collection of the National Gallery of Art in Washington, D.C. The image presents a biblical scene framed by ornamental borders of birds and floral motifs.

Subject & Meaning

The central figure is the prophet Daniel, depicted asleep amid a cavern populated by lions, recalling the Old Testament narrative in which he is miraculously protected from the beasts. The distant town perched on a hill suggests a world beyond the immediate danger, underscoring themes of divine deliverance and faith.

Technique & Style

Collaert employs fine, sharply defined lines to render the rocky interior and the fur of the lions. Depth is achieved through delicate cross‑hatching, creating subtle shadows that model the forms. The ornamental border, populated with birds and flowers, demonstrates the period’s penchant for integrating decorative elements with narrative content.

History & Provenance

The print was produced in the late sixteenth century, a time when Flemish workshops specialized in reproductive engraving. It entered the National Gallery of Art’s holdings through a 20th‑century acquisition, though earlier ownership records are sparse. Its survival on laid paper attests to the durability of Collaert’s technique.

Context

Collaert worked within the Antwerp printmaking tradition, collaborating with publishers who supplied biblical subjects for a broad market. Engravings like this one served both devotional and educational purposes, allowing viewers to contemplate scriptural stories without access to painted altarpieces.