"It isn't a Dance" Gustave Moreau's Salome and The Apparition Peter Cooke
Tipo de material:
ArtículoDetalles de publicación: 2011 Edinburgh: Edinburgh University Press,Descripción: 19 p
En: Dance Research Vol. 29, núm. 2, Winter 2011, p. 214 - 232Resumen: RESUMEN: At the Salon of 1876, at a time when the subject of Salome was becoming fashionable, Gustave Moreau exhibited an oil painting, Salome, and a large watercolour, The Apparition, whose stylistic and iconographical originality astonished and fascinated the critics. Whereas Puvis de Chavannes had represented John the Baptist's execution, observed by Salome, Henri Léopold Lévy had shown Salome presenting the saint's head to Herod, and Henri Regnault had depicted Salome sitting with the sword and the platter to be used for the beheading, Moreau chose to represent the much rarer subject of Salome dancing before Herod. It is Moreau's interpretation of the dance that will be discussed here.
Dentro de la sección: La Danza de Salome y su Herencia ("The Dance of Salome and its Heritage")
RESUMEN: At the Salon of 1876, at a time when the subject of Salome was becoming fashionable, Gustave Moreau exhibited an oil painting, Salome, and a large watercolour, The Apparition, whose stylistic and iconographical originality astonished and fascinated the critics. Whereas Puvis de Chavannes had represented John the Baptist's execution, observed by Salome, Henri Léopold Lévy had shown Salome presenting the saint's head to Herod, and Henri Regnault had depicted Salome sitting with the sword and the platter to be used for the beheading, Moreau chose to represent the much rarer subject of Salome dancing before Herod. It is Moreau's interpretation of the dance that will be discussed here.