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Exodus & Exile
Migration themes in Biblical images

Exodus & Exile: Migration themes in Biblical images

Forthcoming exhibition
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Open a larger version of the following image in a popup: Abraham Lozoff, Lot and his Daughters, c. 1926
Open a larger version of the following image in a popup: Abraham Lozoff, Lot and his Daughters, c. 1926
Open a larger version of the following image in a popup: Abraham Lozoff, Lot and his Daughters, c. 1926
Open a larger version of the following image in a popup: Abraham Lozoff, Lot and his Daughters, c. 1926
Open a larger version of the following image in a popup: Abraham Lozoff, Lot and his Daughters, c. 1926
Open a larger version of the following image in a popup: Abraham Lozoff, Lot and his Daughters, c. 1926

Lot and his Daughters

Artist Abraham Lozoff

Accession number 1987-261


The story of Lot and his daughters is one of the most surprising and shocking stories to be found in the Bible. While probably intended primarily as an unflattering origin story for the Ammonites and Moabites, two traditional enemies of the Israelites, the story can be interpreted as an example of the moral dilemmas faced by those forced into extreme situations, including migration. Having fled the destruction of Sodom and Gomorrah, Lot’s daughters, believing themselves to be the only people to have survived and in order to have offspring, make their father drunk in order to have sex with him, thereby becoming pregnant. The story is the final straw in a series of bad decisions made by the people of Sodom and Gomorrah, Lot and his family, that lead to or follow the destruction of the cities. As a result, Sodom and Gomorrah become bywords for sin throughout the rest of scripture. Therefore, these stories serve as a warning as to what can occur when morality is overlooked in situations of extremis.

 

Lozoff creates a work that is sensual in nature whilst also being crowded and cramped in ways that suggest the characters’ awareness of their sin. Being carved from the same piece of wood, the figures are tightly-packed into a confined rectangular space yet, while being together in flagrante, they are, none of them, looking at each other, as though aware of the shameful nature of their actions.

 
Photo: Bridgeman images

Further images

  • (View a larger image of thumbnail 1 ) Horace Brodzky, Supper at Emmaus
  • (View a larger image of thumbnail 2 ) Horace Brodzky, Supper at Emmaus
  • (View a larger image of thumbnail 3 ) Horace Brodzky, Supper at Emmaus
  • (View a larger image of thumbnail 4 ) Horace Brodzky, Supper at Emmaus
  • (View a larger image of thumbnail 5 ) Horace Brodzky, Supper at Emmaus
  • (View a larger image of thumbnail 6 ) Horace Brodzky, Supper at Emmaus
The work of Russian-Canadian Jewish sculptor Abrasha Lozoff combined the disparate influences of Grinling Gibbons and Gauguin. His extraordinary woodcarving Lot and his two Daughters, later donated by Lord Sieff...
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The work of Russian-Canadian Jewish sculptor Abrasha Lozoff combined the disparate influences of Grinling Gibbons and Gauguin. His extraordinary woodcarving Lot and his two Daughters, later donated by Lord Sieff to the Ben Uri), was exhibited at the London Group's summer exhibition in June 1926 (Lozoff's first and last showing with the Group). It was judged by the art critic of 'The Times' to be ‘not as good as it looks, owing too much to its Far Eastern reference, though it is evidently the work of a man who knows his job’. The criticism may have also have been provoked by the enormous £1,500 price tag. The work was later presented to the Ben Uri by Lord Sieff in 1936 and a sketch of the same subject (lent by Mr. Charles A. Lever) was exhibited at Ben Uri's autumn exhibition in 1951.
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Provenance

presented by Lord Sieff 1936

Literature

Walter Schwabe and Julia Weiner, eds., Jewish Artists: the Ben Uri Collection - Paintings, Drawings, Prints and Sculpture (London: Ben Uri Art Society in association with Lund Humphries Publishers Ltd, 1994), p. 74.
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