Salome with Head of John Baptist. Salome is an oil painting, probably of Salome with the head of John the Baptist, by the Italian late Renaissance painter Titian.
It is usually dated to around 1515 and is now in the Doria Pamphilj Gallery in Rome. Like other paintings of this subject, it has sometimes been considered to represent Judith with the Head of Holofernes, the other biblical incident found in art showing a female and a severed male head.
Historically, the main figure has also been called Herodias, the mother of Salome. Sometimes attributed to Giorgione, the painting is now usually seen as one where Titian's personal style can be seen in development, with a sense of physical proximity and involvement of the viewer, in which expert handling of the malleable oil medium enabled the artist to evoke the sensation of softly spun hair upon creamy flesh.
Erwin Panofsky suggested the head of John the Baptist might be a self-portrait, and it is possible that Titian was alluding to his private life with the model, anticipating Cristofano Allori 's, Judith with the Head of Holofernes, where the severed head was a self-portrait and Judith and the maid portraits of his ex-mistress and her mother. The model here, allowing for a degree of idealization, has been said to be the same used in the Dresden Venus.
This composition was copied many times, in some cases at least by Titian's workshop. The possible provenance of t
It is usually dated to around 1515 and is now in the Doria Pamphilj Gallery in Rome. Like other paintings of this subject, it has sometimes been considered to represent Judith with the Head of Holofernes, the other biblical incident found in art showing a female and a severed male head.
Historically, the main figure has also been called Herodias, the mother of Salome. Sometimes attributed to Giorgione, the painting is now usually seen as one where Titian's personal style can be seen in development, with a sense of physical proximity and involvement of the viewer, in which expert handling of the malleable oil medium enabled the artist to evoke the sensation of softly spun hair upon creamy flesh.
Erwin Panofsky suggested the head of John the Baptist might be a self-portrait, and it is possible that Titian was alluding to his private life with the model, anticipating Cristofano Allori 's, Judith with the Head of Holofernes, where the severed head was a self-portrait and Judith and the maid portraits of his ex-mistress and her mother. The model here, allowing for a degree of idealization, has been said to be the same used in the Dresden Venus.
This composition was copied many times, in some cases at least by Titian's workshop. The possible provenance of t
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