Object of the Month: 'Salome with the Head of John the Baptist'

By Bowdoin College Museum of Art

Salome with the Head of John the Baptist by Giovanni Andrea Sirani (possibly after) depicts the dramatic climax of a moralizing biblical narrative through a Baroque-era lens.

An oil painting depicts a woman dressed in Baroque clothing holds a severed head upon a platter

Giovanni Andrea Sirani (possibly after), Salome with the Head of John the Baptist, 17th century, oil on canvas. Bowdoin College Museum, Brunswick, Maine. Bequest of the Honorable James Bowdoin III.

The oil painting Salome with the Head of John the Baptist portrays a gruesome scene, riddled with themes of revenge and jealousy. Though past collections records reflect an attribution of the painting to Guido Reni (1575-1642), new scholarship by Richard Rand ‘83, associate director for collections at the J. Paul Getty Museum in Los Angeles, recontextualizes the painting as a variant of a composition by Giovanni Andrea Sirani (1610-1670), who was a student of Reni. Salome with the Head of John the Baptist first arrived at Bowdoin in 1811 as part of the bequest of James Bowdoin III, and now resides in the BCMA’s Permanent Collection.  

Salome with the Head of John the Baptist depicts the biblical scene of Salome holding the severed head of John the Baptist. Born in 7 BCE, John the Baptist was a Jewish preacher from Judea, renowned for his practice of baptism. The term "baptizer" is taken directly from the Ancient Greek word "βαπτίζειν," meaning "to submerge," as Ancient Greek was the original language of the New Testament. This practice did not yet have the Christian connotations it holds today, as Christianity was a relatively new religion at the time. According to the gospels of the New Testament, God sent John to preach about repentance and to baptize people in water, specifically in the River Jordan. He was also tasked with proclaiming the Kingdom of God and preparing people for the coming of the Messiah, whom he believed to be Jesus Christ. John is most famous for having baptized Jesus when he came to John to provide an example for everyone else. After John baptized Jesus in the River Jordan, he is said to have seen the Holy Spirit descend. 

In their gospels, Mark and Matthew record that John publicly criticized King Herod, the ruler of Galilee located in northern Judea, for marrying his brother’s wife, Herodias. John preaches, “It is not lawful for you to have your brother’s wife” (Mark 6:18). Because of these condemnations, Herodias became upset with John, and Herod ordered his arrest and imprisonment. 

During a grand banquet later held by King Herod to celebrate his birthday, Herodias's daughter from her previous marriage, Salome, performed a dance that greatly pleased Herod and his guests. Seduced, Herod responded to the dance: “Ask me for anything you want, and I’ll give it to you... Whatever you ask I will give you, up to half my kingdom” (Mark 6:22-23). At her mother’s request, Salome demanded the head of John the Baptist. Salome’s request distressed King Herod because he felt compelled to honor his promise in front of his distinguished guests. Consequently, he sent an executioner with the order to bring John’s head on a platter and present it to Salome. In this painting, Salome is depicted the moment before she hands the platter to her mother.  

Salome’s dress and headpiece are not typical of the Biblical period but reflect contemporary Baroque fashion, as if to remind us of the story’s timeless relevance. Sirani aims to provoke viewers to contemplate the idea of acting righteously according to the Bible and to warn viewers of the consequences of succumbing to seduction. Salome’s dress is also adorned with pearls and gemstones, signifying her wealth and status as the stepdaughter of the king. This may be a commentary on her moral values. In the Bible, wealth is often associated with gluttony, and followers are repeatedly instructed by Jesus to relinquish their wealth, as wealth cannot enter the kingdom of heaven. Salome’s expression is also notable; she appears unconcerned as she gazes down at the lifeless severed head of the man whose murder she requested. Her detached demeanor and lack of visible remorse emphasize her moral indifference. Although Salome did not personally kill John the Baptist or hold a direct grudge against him, she orchestrated his execution at the cost of her own virtue and moral character.  

Salome with the Head of John the Baptist presents a compelling visual narrative that intertwines biblical history, the dramatic style of the Baroque period, and themes of morality. The painting is currently on view at the Bowdoin College Museum of Art in  Re|Framing the Collection: New Considerations in European and American Art, 1475-1875. 

Gabi Sennett '25
Education and Shop Assistant