In the middle is a picture of my wristband at The Ringling Museum of Art in front of the painting Herodias and Salone with the Head of John the Baptist.
Title: Herodias and Salone with the Head of John the Baptist
Artist: Mattia Preti (Italian, 1613-1699)
Dimensions of the image (not including frame): 47 ¼ x 67 ½ (120 x 171.5 cm)
The artwork vividly portrays an iconic New Testament event wherein John the Baptist's decapitated head is displayed by Herodias. The dark backdrop, subdued hues, and the strong shadow play on the faces and clustered figures of the six characters amplify the scene's ghastly nature to the observer. The color palette leans more towards harmony than contrast, incorporating subtle shades of brown, yellow, and orange as the key highlights against the painting's shadows. The figures featured in the scene are Herodias, Salome, King Herod, the executioner, and the beheaded John the Baptist. According to biblical accounts, Herodias sought vengeance against John the Baptist due to his outspoken criticism of her inappropriate marriage to her stepbrother. Herodias' plot of revenge involved persuading her daughter Salome to perform a dance for the king, who consequently promised to fulfill any desire of hers. Salome's wish, influenced by her mother's desires, was to have John the Baptist's head, which was later served on a dish as portrayed in the depicted artwork.
While Salome and Herodias rejoiced at John’s death, the painting highlights the event in a different light: one of darkness. The quiet horror of the scene of John’s head on a platter, although not felt by the subjects themselves, is instead felt by the viewer and painter. The indifferent facial expressions of the characters stand in stark contrast with the painting's macabre theme and shadowy ambiance, thereby intensifying its eerie aura. Upon my initial entry into the room showcasing this work, I found myself doing a double take. The preceding galleries offered uplifting artworks characterized by light hues and moods; however, this room was cloaked in an almost mournful ambiance. Each painting displayed here carried an element of grim surprise, which might not be immediately apparent if not for the predominance of subdued and darkened tones. In regards to the depiction of Herodias and Salome with John the Baptist's head, I had to take a second look. At first glance, the painting was quite ambiguous, as the nearly monochromatic palette of brown and black used for John the Baptist's head made it easy to overlook. Upon closer inspection, I realized the scene was not a portrayal of friends watching a man at rest, but rather a group captivated by the decapitated head in their possession.
The painting Herodias and Salone with the Head of John the Baptist is associated with the Baroque period in Italy (specifically the city of Naples). The dramatic style of the artwork is heavily influenced by the infamous painter Caravaggio who is known for his intense and unsettling realistic religious artwork (fun fact, the painter himself had quite a volatile character which was reflected in his work; for example, Caravaggio was a known criminal and had committed murder). Mattia Preti managed to convey his thoughts on the biblical story of Salome and Herodias as someone who sympathized with John the Baptist instead of the mother and daughter pair. This disapproval of the pair’s actions can be seen in the depressing depiction of their actions. Had Preti thought of the scene as a victorious and impressive revenge plot, the painting would’ve likely been much bright in color with far more contrast, showing the mother-daughter pair in a positive and brave light. Preti succeeds in leading the audience to view the situation through the same lens he does, highlighting John’s martyrdom and the uncaring impassiveness of his murderers.Â
There is quite a bit of historical context to the creation of this art piece. During the period of its design there was a lot of unrest in Israel and while the common folk held numerous revolutionary movements against the government due to the expectation of the arriving Messiah, the government and the upper class looked upon both Jesus and John the Baptist as dangerous to the livelihood of their government. In the modern world, this view against religious preaching is maintained as more and more citizens in the United States fight against religious morals in hopes of a more secular society and government (such as in the case of abortion and marriage). Hence, it can be inferred that another message of Preti’s was to showcase the dangers an oppressive government can hold to religious believers if not careful. It’s incredible to think that such an old painting’s message still holds relevance in modern society. Overall, the painting is a spectacular example of a religious Baroque art piece in which the characteristics of drama, dynamism, tension, and emotional exuberance are encompassed.Â
