Who painted Salomé recebe a cabeça de João Baptista?

Salomé recebe a cabeça de João Baptista was painted by Paulus Moreelse in 1618.

Where can I see Salomé recebe a cabeça de João Baptista?

Salomé recebe a cabeça de João Baptista is held by National Museum of Ancient Art.

What movement is Salomé recebe a cabeça de João Baptista?

Salomé recebe a cabeça de João Baptista is associated with Dutch Golden Age.

Artwork

Salomé recebe a cabeça de João Baptista

Paulus Moreelse , 1618

Salomé recebe a cabeça de João Baptista is an unspecified painting by the Dutch Golden Age artist Paulus Moreelse. It dates from 1618 and is held in the collection of the National Museum of Ancient Art.

About this work

Overview

Paulus Moreelse’s 1618 canvas, titled *Salomé recebe a cabeça de João Baptista*, is part of the collection of the National Museum of Ancient Art. The work portrays a dramatic moment in a dimly lit interior, where a group of six figures gathers around a severed head.

Subject & Meaning

The scene depicts the biblical episode in which Salome presents the beheaded John the Baptist. The figures, dressed in period attire, focus their attention on the severed head, emphasizing themes of martyrdom, power, and the moral complexities of desire and obedience.

Technique & Style

Moreelse employs strong chiaroscuro, using deep shadows and stark light to heighten the emotional intensity. The contrast between the illuminated faces and the dark stone walls creates a theatrical atmosphere, characteristic of early‑17th‑century Dutch painting.

History & Provenance

Executed in 1618, the painting has remained in the public domain and is now housed in Lisbon’s National Museum of Ancient Art. Its provenance traces back to the artist’s workshop, though earlier ownership records are scarce.

Context

Created during the Dutch Golden Age, the work reflects contemporary interest in biblical narratives rendered with dramatic realism. Moreelse, a prominent portraitist of Utrecht, applied his skill in rendering fabrics and facial expressions to a religious subject, aligning with the period’s moralizing artistic trends.