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Salome with John the Baptist's head, by Charles Mellin (1597–1649). Salome (/ s ə ˈ l oʊ m i, ˈ s æ l ə m eɪ /; Hebrew: שְלוֹמִית, romanized: Shlomit, related to שָׁלוֹם, Shalom "peace"; Greek: Σαλώμη), [1] also known as Salome III, [2] [note 1] was a Jewish princess, the daughter of Herod II and princess Herodias.
The subject matter is taken from the New Testament, depicting Salome—the daughter of Herod II and Herodias—dancing before Herod Antipas. The work took Moreau seven years to paint. [1] It created a sensation when it was exhibited for the first time in Paris at the Salon of 1876 and is arguably Moreau's most important work.
In the Gospels of Matthew and Mark, Herodias plays a major role in the execution of John the Baptist, using her daughter's dance before Antipas and his party guests to ask for the head of the Baptist as a reward. According to the Gospel of Mark, Antipas did not want to put John the Baptist to death, for Antipas liked to listen to John the ...
Jokanaan appears, denouncing Herodias and her husband. At first frightened by the sight of the holy man, Salome becomes fascinated by him, begging him to let her touch his hair, his skin and kiss his mouth. When she tells him she is Herodias's daughter, he calls her a "daughter of Sodom" and bids her keep away from him.
The Dance of the Seven Veils is the dance performed by Salome before King Herod Antipas in modern stage, literature, and visual arts. [2] It is an elaboration on the New Testament story of the Feast of Herod and the execution of John the Baptist , which refers to Salome dancing before the king, but does not give the dance a name.
Glossa Ordinaria: "The Evangelist having related John’s imprisonment, proceeds to his putting to death, saying, But on Herod’s birthday, the daughter of Herodias danced in the midst." [2] Jerome: "We find no others keeping their birthday besides Herod and Pharaoh, that they who were alike in their wickedness might be alike in their ...
At this banquet, Herod's daughter dances before Herod, who is pleased and offers her anything she asks for in return. The girl asks her mother what she should request, and she is told to demand the head of John the Baptist. Reluctantly, Herod orders the beheading of John, and John's head is delivered to her, at her request, "on a platter."
The use of erotic allure on male figures of power is the core of both stories, but to the church and Titian's contemporaries, Herodias and Salome were bad, but Judith a heroine. [18] Both stories were part of the repertoire of the Power of Women topos, mainly a feature of German art in this period, but whose subjects were also depicted in Italy ...