1876, Gustave Moreau, Salomé Dancing before Herod -- Hammer Museum (Los Angeles)
From the museum label:
In this painting of the New Testament story, Moreau depicts Salomé performing a dance for her stepfather, Herod, at the banquet celebrating his birthday. Her seductive movements so captivated him that Herod offered to give Salomé whatever she desired. Prompted by her vengeful mother Herodias, Salomé asked for the head of John the Baptist, who had preached against the marriage of Herodias and Herod.
Although Moreau borrowed decorative elements from numerous sources and cultures, including Indian, Turkish, Persian, Egyptian, Moorish, Roman, Greek, and Etruscan, his system of symbolism was personal and originated from his imagination.
Moreau created more than eighty preliminary sketches for Salomé Dancing before Herod. Using a new technique of adding specks of intense color to the canvas, Moreau enlivened this painting with glittering touches of white and impasto to convey a sense of the mystery, exoticism, and opulence of the biblical scene. Moreau reentered the public realm by exhibiting Salomé at the Salon of 1876, where it received critical acclaim.
1876, Gustave Moreau, Salomé Dancing before Herod -- Hammer Museum (Los Angeles)
From the museum label:
In this painting of the New Testament story, Moreau depicts Salomé performing a dance for her stepfather, Herod, at the banquet celebrating his birthday. Her seductive movements so captivated him that Herod offered to give Salomé whatever she desired. Prompted by her vengeful mother Herodias, Salomé asked for the head of John the Baptist, who had preached against the marriage of Herodias and Herod.
Although Moreau borrowed decorative elements from numerous sources and cultures, including Indian, Turkish, Persian, Egyptian, Moorish, Roman, Greek, and Etruscan, his system of symbolism was personal and originated from his imagination.
Moreau created more than eighty preliminary sketches for Salomé Dancing before Herod. Using a new technique of adding specks of intense color to the canvas, Moreau enlivened this painting with glittering touches of white and impasto to convey a sense of the mystery, exoticism, and opulence of the biblical scene. Moreau reentered the public realm by exhibiting Salomé at the Salon of 1876, where it received critical acclaim.