Salome with the Head of John the Baptist, Bernardino Campi (Cremona 1522 -1591)

Bernardino Campi (Cremona 1522 -1591)
Salomé with the head of the Baptist

Oil painting on canvas
101 x 76 cm. – In frame 118 x 94 cm.

Provenance: Templum Fine Art Auctions, Barcelona (Spain), 9.10.2024, lot 65 (Bernardino Campi attr.), estimate €40.000/50.000 EUR*
Private collection, Barcelona

Full details of the work (click HERE)

The valuable painting proposed here interprets the biblical episode of 'Salome with the head of St. John the Baptist' and is attributable to the Italian painter Bernardino Campi (Cremona 1522 – 1591), one of the most characteristic exponents of Mannerism in northern Italy, reflecting the typical style of the 16th-century Cremonese school.

The work unfolds on a large canvas, allowing for a monumental development of the half-height figures, through a theatrical atmosphere rich in psychological details.

The beautiful Jewish princess Salome, portrayed with the features of a typical Renaissance aristocratic beauty, triumphantly holds a silver tray, ready to receive the severed head of Saint John the Baptist from the guard. As narrated in the biblical passage from Matthew (14:1-11), at the instigation of her mother Herodias, she received the head as a reward from King Herod, who was enchanted by the sensual dance she performed for him during a banquet in his honor.

Analyzing the composition now, we note the meticulous study played on strong visual and chromatic contrasts: in particular, Salome dominates the scene with a posture that combines grace and detachment, with her dress punctuated by precious fabrics in iridescent pink velvet, enriched by pearls at the neck and a finely braided hairstyle.

In contrast to this is the powerful figure of the guard, wearing a sumptuous lapis lazuli blue metallic breastplate that reflects the light, combined with an ochre-colored fringed skirt, typical of the “ancient” Renaissance depictions of Roman soldiers.

The most magnetic element of the painting, and one of great pictorial refinement, is the silent interplay of gazes and antithetical attitudes of the two characters, as well as the physiognomic contrasts of their faces: this stylistic choice transforms the scene into a psychological encounter of strong emotional involvement.

The woman, beautiful and with almost angelic features, does not look at the macabre trophy with horror, but instead turns her gaze toward the guard, almost as if seeking his complicity, while holding the tray with aristocratic coolness. The soldier, on the other hand, observes him with a stern yet intensely human and compassionate expression as he offers the tragic trophy.

From a stylistic point of view, our Salome constitutes an important reference in the path of Bernardino Campi (Cremona 1522 -1591), a perfect example of his painting oriented towards an intellectual, elegant and sophisticated Mannerist language, strongly indebted to the sinuous lines of Parmigianino and the plasticity of Correggio's figures.

Comparing other works by the painter and focusing on the faces of his female figures, we see that they share certain stylistic recurring features: idealized features, porcelain complexions, and a formal smoothness that transforms these portraits into archetypes of cool, aristocratic beauty. For comparison, we can mention the faces in 'Saint Cecilia and Saint Catherine' in the church of San Sigismondo in Cremona (image 1), that of the 'Magdalene' in the Art Gallery of New South Wales in Sydney (image 2), and finally that of Salome in the 'Beheading of John the Baptist' in Cremona Cathedral (image 3, detail).

The theme of the Beheading of John the Baptist was tackled on several occasions by the Campi workshop and Bernardino himself, in addition to the one just mentioned, also created a panel now kept in the Diocesan Museum of Milan (Imm.4).

Although each piece is unique, these works display a layout that makes extensive use of graphic prototypes and preparatory drawings circulating within the workshop. The figure of the guard and the profile pose with his arm outstretched, almost like an ancient relief, are recurring geometric-anatomical patterns in Bernardino's notebooks, used to balance the soft sinuosity of the female figures in the foreground.

Another hallmark of Bernardino's work is his marked predilection for a rich, vibrant, and intensely luminous color palette: from the soldier's metal armor, with its hyper-realistic reflections, to the iridescent reflections of the fabrics or the cold surface of the silver plate, which demonstrate a technical expertise that Campi frequently employed as a virtuosic device to illuminate the scene.

Another fascinating detail found in other works by this artist (see image 2) is the glimpse in the corner, in our case the top right, where a false opening reveals a tree-lined landscape in which we can glimpse a lively scene with John the Baptist along the banks of the Jordan; this visual device, a "picture within a picture," typical of Mannerism, not only provides spatial depth, but also hints at the events preceding the execution.

ADDITIONAL INFORMATION:

The work comes with a pleasant frame and is accompanied by a certificate of authenticity and a descriptive iconographic sheet.

We take care of and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers.
It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works.

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