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The Drunkenness of Noah, ca 1665. Creator: Giordano, Luca (1632-1705)
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The Drunkenness of Noah, ca 1665. Creator: Giordano, Luca (1632-1705)
The Drunkenness of Noah, ca 1665. Private Collection
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Media ID 36306137
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Ararat Giordano Great Flood Luca 1632 1705 Mount Ararat Noah Noahs Ark Noahs Flood Origin School Of Neaple Old Testament
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EDITORS COMMENTS
The Drunkenness of Noah," a captivating masterpiece by the renowned Italian Baroque artist Luca Giordano, painted around 1665, offers a vivid interpretation of an intriguing Old Testament story. This oil on canvas painting, currently held in a private collection, depicts the biblical episode where Noah, having consumed wine following the end of the Great Flood, becomes intoxicated and exposed in his nakedness (Genesis 9:20-27). Giordan's interpretation of this scene is characterized by its dramatic use of light and color, as well as its intricate detail. The painting showcases the figure of Noah, reclining on a bed, surrounded by his three sons, Shem, Ham, and Japheth. Ham, the youngest son, is depicted sneaking a peek at his father's nakedness, while Shem and Japheth avert their eyes in respect. The scene is set against the backdrop of a dimly lit room, with a window revealing the majestic Mount Ararat in the distance, symbolizing the origin of the flood. The School of Naples artist masterfully employs the Baroque style, with its emphasis on movement, emotion, and drama, to bring this mythological tale to life. The use of rich colors and bold brushstrokes adds depth and texture to the painting, creating an engaging and thought-provoking work of art. This painting not only showcases Giordano's exceptional artistic skills but also invites viewers to reflect on the themes of human vulnerability, the consequences of indulgence, and the importance of respect and decency. The Drunkenness of Noah remains a fascinating and visually stunning representation of this Old Testament story, offering a glimpse into the artistic and cultural traditions of Italy during the Baroque period.
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