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On the canvas of Gustave Moreau, the fragile beauty of Solomei is represented by dancing in a light gold embroidered dress for the tyrannical, evil and envious king Herod. Her figure, bent in dance, with her hand raised in an imperative gesture, makes her want to follow her will, from which even the king himself was not saved.
The composition impresses with the many colorful small details that the artist painted with some special persistence, so they turned out to be very realistic.
The palace, which is more reminiscent of a medieval Catholic cathedral, which is not characteristic of that era, is depicted by high vaulted ceilings. The walls resemble colorfully decorated cathedral ledges, on the floor there is a chic red Persian carpet, which seems to have been a little frayed by countless festivals and guests.
Moreau himself practiced mixing styles in one canvas in almost all paintings, this painting was no exception, making it seem that this palace can still be found somewhere in France, Assyria or Venice.
In history, Salome is mentioned during the death of John the Baptist, thus she is a real character who played a role in the death of the son of God. Salome’s dance aroused admiration, for which Herod gave her absolutely any desire, the dancer chose a dish with the head of the Baptist. What was left for the king? To fulfill the promise given to a beautiful but insidious dancer. It is noteworthy that Solomei on this canvas more closely resembles a resident of not the Far East, and not the image of the Gospel traditions.
Madonna With Babies