Bernardino Campi, Salome with the Head of Battista Campi, 1580, Oil on Canvas

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Description

Bernardino campi (cremona 1522 -1591)
salome with the head of st. John the baptist

oil on canvas
101 x 76 … Read more Bernardino campi (cremona 1522 -1591)
salome with the head of st. John the baptist

oil on canvas
101 x 76 cm. - framed 118 x 94 cm.

provenance: templum fine art auctions, barcelona (spain), october 9, 2024, lot 65 (bernardino campi attr.), estimate €40,000/50,000 eur*
private collection, barcelona

full details of the work (click here)

the exquisite painting offered here interprets the biblical episode of "salome with the head of st. John the baptist" and is attributed 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, creating a theatrical atmosphere rich in psychological detail.

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 of strong visual and chromatic contrasts: in particular, salome dominates the scene with a posture that combines grace and detachment, her dress punctuated by precious fabrics of iridescent pink velvet, embellished with pearls at her neck and a finely braided hairstyle.

in contrast, the powerful figure of the guard, wearing a sumptuous lapis lazuli blue metallic armor that reflects the light, paired with an ochre-colored fringed skirt, typical of renaissance depictions of roman soldiers in the "ancient" style.

the most magnetic element of the painting, and of great pictorial refinement, is the silent interplay of gazes and antithetical attitudes of the two figures, as well as the contrasting physiognomies 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 in horror, but instead turns her gaze toward the guard, almost as if seeking complicity, while holding the tray with aristocratic coldness. The soldier, on the other hand, observes him with a stern yet intensely human and compassionate expression as he offers the tragic trophy.

stylistically, our salome represents a significant reference in the career of bernardino campi (cremona 1522-1591), a perfect example of his painting style, oriented toward an intellectual, elegant, and sophisticated mannerist language, heavily 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 constants: idealized features, porcelain-like complexions, and a formal smoothness that transforms these portraits into archetypes of aristocratic, cool beauty. For comparison, we might 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 explored several times by the campi workshop, and bernardino himself, in addition to the one just mentioned, also created a panel now housed in the diocesan museum of milan (image 4).

although each piece is different, 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 antique 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 hyperrealistic reflections, to the iridescent reflections of the fabrics and the cold surface of the silver plate, all of which demonstrate a technical mastery that campi frequently employed as a virtuoso device to illuminate the scene.

another fascinating detail found in other works of his (see image 2) is the glimpse in the corner, in this case the top right, where a false opening reveals a tree-lined landscape with a lively scene featuring 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 is beautifully framed and comes with a certificate of authenticity and a descriptive iconographic sheet.

we handle and organize the shipping of purchased works, both within italy and abroad, using professional and insured carriers.
the painting can also be viewed at our gallery in riva del garda; we would be happy to welcome you and show you our collection. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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