Oil painting on canvas.
Inspired by the Gospel accounts of John the Baptist of life, the scene depicts the Queen Herodias receiving on a platter the head of the preacher's daughter Salome had asked Herod in exchange for his dance.
Herodias is shown here in all its royalty, with the crown and scepter, covered with clothing and jewels, but with an expression unfriendly and indifferent, almost bored, even in front of the macabre spectacle, while performing the gesture by itself to remove disdainfully the trophy that the servant is holding out on a tray.
The work, already passed in the Dorotheum auction in 2008, was published and well described in the text 'art history studies in honor of Fabrizio Lemme', published in 2017, in the chapter by Michele Nicolaci (historian of ' expert art of the seventeenth century painting), that looks like a painting by Giovanni Baglione unprecedented.
This was the Roman artist and writer, best known for writing 'The Lives of' painters, sculptors, and architects by Pope Gregory XIII in 1572 to 'time of Pope Urban the Eighth' in 1642, the first published collection of artists' biographies in Rome in the seventeenth century. Of great importance also his paper 'The nine churches of Rome', published in 1639.
His painting activity took place between Rome and Naples; initially the late Mannerist mold, known as Caravaggio, he adapted to his style reaching almost to imitation, so as to arouse the indignation of Caravaggio and his derision, as well as the lack of consideration of fellow Romans; isolated and insulted, Baglione then returned to his own style, but still was able to achieve some success at the high Roman society, thanks to the ability to enter into the good graces of the powerful and to reinvent itself as the Barberini court scholar.
Its stylistic turning point with the return to a Mannerist setting occurred around 1630 and is defined in a production characterized by forcing compositional and almost caricatured characters.
You can place in this period this Herodias: albeit in redundantly and excessive, almost ironic, to portray the character, this work is not lacking in elegance, in theatrical pose of the woman, but also the servant, in the able of contrasts color (in the role of the queen, but also in the differences between the flesh tones), in an abundance of clothes and jewelry.
The painting was restored and ritelata.
And 'it presented in a golden frame of the end' 800.
Publication attached to the painting.
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