Who painted Salome with the head of John the Baptist?

Salome with the head of John the Baptist was painted by Cesare da Sesto in 1514.

Where can I see Salome with the head of John the Baptist?

Salome with the head of John the Baptist is held by Kunsthistorisches Museum.

What movement is Salome with the head of John the Baptist?

Salome with the head of John the Baptist is associated with Mannerism.

Artwork

Salome with the head of John the Baptist

Cesare da Sesto , 1514

Salome with the head of John the Baptist is an unspecified painting by the Mannerist artist Cesare da Sesto. It dates from 1514 and is held in the collection of the Kunsthistorisches Museum.

About this work

Overview

Created in 1514 by the Lombard painter Cesare da Sesto, this oil work portrays the biblical episode of Salome receiving the severed head of John the Baptist. Executed for a devotional setting, the canvas now belongs to the collection of the Kunsthistorisches Museum in Vienna, where it is displayed among other works of the High Renaissance.

Subject & Meaning

The composition centers on a young woman, identified as Salome, who holds a richly embroidered cloth while a bearded, muscular figure leans over a bowl containing the freshly cut head of the prophet. Salome’s serene expression and the calm posture of the attendant contrast with the violent act, emphasizing themes of obedience, martyrdom, and the moral complexities of power.

Technique & Style

Da Sesto employs a pronounced chiaroscuro, modeling forms through stark light and deep shadow to give volume to the flesh and drapery. The red and blue garments are rendered with fine brushwork that captures the texture of silk, while the smooth surface of the bowl reflects a subtle glow, enhancing the dramatic focus on the severed head.

History & Provenance

The painting was likely commissioned for a private chapel or a wealthy patron interested in biblical subjects. It entered the imperial collection in the 17th century, eventually becoming part of the Kunsthistorisches Museum’s holdings after the museum’s foundation in 1891, where it has remained in the European paintings department.

Context

Cesare da Sesto, a close follower of Leonardo da Vinci, absorbed the master’s compositional balance and sfumato, evident in the softened transitions of tone. The work reflects the period’s fascination with dramatic narrative scenes from the New Testament, a motif frequently revisited by Italian artists seeking to explore human emotion within sacred stories.