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Home The Apparition [Salome and the Head of John the Baptist].

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Larger Image	Larger image may be viewed by UofL faculty, staff, and students only (log-in required using ULink username/password) at: http://echo.louisville.edu/login?url=http://vrc-web.louisville.edu/Jpegs/290/292-30.jpg
Title	The Apparition [Salome and the Head of John the Baptist].
Creator	Moreau, Gustave (French painter, 1826-1898)
Date	1876?
Cultural Context	French European Western European
Style/Period	Symbolist Neo-Romantic
Theme	Paintings (visual works) Oil paintings (visual works) Storytelling Narrative (artistic device) Narratives (document genres) Scenes (depictions) Eye-level views Myths (literary documents) Mythology (literary genre) Legends (folk tales) Folk tales Folklore Bible Bible stories Figurative art Figures (representations) Front views Profiles (figures) Women Dancers Nudity Costume (mode of fashion) Headgear Jewelry Necklaces Bracelets (jewelry) Gesture Supernatural Men (male humans) Saints Religious (people) Heads (representations) Haloes Glories Blood (animal material) Architecture (object genre) Columns (architectural elements) Arches Architectural elements
Subject	Paintings Oil paintings Storytelling Myths Legends Biblical events Women Dancers Clothing & dress Headgear Jewelry Necklaces Bracelets Gestures Pointing fingers Posing Supernatural Saints People associated with religion Dead persons Heads (Anatomy) Floating Blood Decapitations Architecture Columns Arches Architectural elements Structural elements
Description	"As early as 1876, in the ornate, somewhat epicene sensuality of The Apparition, Moreau summarized many of the concepts that linked the melancholy beauty of the Pre-Raphaelites with his own native poetic tradition epitomized by Baudelaire's femme damnée, described in The Flowers of Evil […]. Moreau's painting combines an hallucinatory mythic subject matter with the conscious attempt to achieve his own stated objectives of a 'beauty of inertia' and a 'necessary richness' of pictorial effect. His spangled, jeweled color and voluptuous imagery sent [Joris-Karl] Huysmans into a paroxysm of rhapsodic description in Against Nature [À Rebours]. The elaborate technique of loaded paint application, tumescent forms, and erotic fantasies conspires to lend his mythic scenes the quality of mystery and scandal admired by succeeding Symbolist poets and painters. Moreau introduced into the Paris art world the visual image of pitiless womanhood, the first in a long line of sadistic females in art […]. The prototype can be regarded as the reigning goddess of the Decadents, a bizarre and voluptuous image, dominated by the twin forces of eroticism and mysticism." (Excerpt, pp. 36-37)
People Pictured	Salome (Biblical figure) John, the Baptist, Saint
Material	Oil on canvas Oil paint (pigmented coating) Paint Canvas
Measurements	12 1/2 x 19 3/8"
Technique	Oil painting (technique) Painting (image-making)
Work Type	Oil paintings Paintings
Repository	Musée Gustave Moreau (Paris, France)
Source	Hunter, Sam, John Jacobus, and Daniel Wheeler. Modern Art: Painting, Sculpture, Architecture. 3rd rev ed. New York: Harry N. Abrams, 2000. (p.34, fig.35).
Rights	Reproduced in Hunter courtesy: Musée Moreau, Paris; Hunter, Modern Art: Copyright © 2000 The Vendome Press, New York. Further, it should be noted that many of the art works reproduced in this volume are subject to claims of copyright in the United States and throughout the world, particularly for those artists represented by ADAGP and SPADEM, both located in Paris and exclusively represented in the United States by Artists Rights Society, New York. For other artists, mainly American, the copyright agent is VAGA, New York.
Digital Publisher	University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format	image/jpeg
Digital File Name	VRC 292-30.jpg
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