Wilde’s symbolist play Salomé (1894) would certainly not be the same without Aubrey Beardsley’s illustrations on the English version.
The essay examines one of the most significant scenes in the play: the dance of the seven veils. Firstly, Beardsley’s illustration “The Stomach Dance” (1894) is analysed. Subsequently, two earlier paintings of the same subject, by Benozzo Gozzoli and Gustave Moreau, will be introduced and compared to Beardsley’s representation.
“For Aubrey: for the only artist who, besides myself, knows what the dance of the seven veils is and can see the invisible dance. Oscar”
Table of Contents
1. Introduction
2. Analysis of Aubrey Beardsley's "The Stomach Dance"
3. Comparison with Benozzo Gozzoli’s "Dance of Salome"
4. Comparison with Gustave Moreau’s "Salomé Dansant Devant Hérode"
5. Conclusion
Objectives and Core Themes
This essay explores the visual representation of the "dance of the seven veils" in Oscar Wilde’s Salomé (1894) by examining Aubrey Beardsley’s iconic illustration and contrasting it with earlier artistic interpretations by Benozzo Gozzoli and Gustave Moreau to reveal shifting cultural perceptions of femininity and power.
- The role of visual symbolism and gender dynamics in Decadent art.
- Iconographic evolution of the "femme fatale" archetype.
- Technical differences between Beardsley’s Japonisme-influenced style and traditional painting.
- The intersection of sexuality, death, and power in the Salomé narrative.
Excerpt from the Book
Comparison of Aubrey Beardsley's illustrations to Oscar Wilde's Salomé (1894) to two earlier paintings of the same subject
In his letter Oscar Wilde confirms an aspect that is highly praised by critics. As "one of the most successful collaborations of poet and illustrator" (Tydeman 115) Wilde’s symbolist play Salomé (1894) would certainly not be the same without Aubrey Beardsley’s illustrations on the English version. The following essay will be about one of the most significant scenes in Salomé: the dance of the seven veils. Firstly, there will be an examination of Beardsley’s illustration “The Stomach Dance” (1894). Subsequently, two earlier paintings of the same subject, by Benozzo Gozzoli and Gustave Moreau, will be introduced and compared to Beardsley’s representation.
“The Stomach Dance” (1894) is one of Beardsley’s illustrations to the play and shows Salome’s dance. King Herod has previously promised the princess to grand her any wish if she would dance for him. (Salome 38f)
Salome is standing on a black ground, which is divided horizontally from the plane white background. We might go further and interpret it as the moon, for it is one of the outstanding leitmotivs in the play. Salome is predominating the picture’s right side. In the foreground of the bottom left corner a grotesque figure is playing an instrument. Concerning the use of colour, it is remarkable that Beardsley works with black and white only. Hereby he creates great contrasts and simultaneously sole focuses on define lines and filled areas. The lack of shadows leads to the conclusion that no source of light can be defined. We are also missing any third dimension, in other words Beardsley creates “a world [...] without any reference to any objective reality”. (Fletcher 57)
Summary of Chapters
1. Introduction: This chapter introduces the collaboration between Oscar Wilde and Aubrey Beardsley and outlines the comparative focus of the study regarding the "dance of the seven veils."
2. Analysis of Aubrey Beardsley's "The Stomach Dance": This section examines the stylistic choices, sexual symbolism, and the influence of Japonisme in Beardsley’s interpretation of the scene.
3. Comparison with Benozzo Gozzoli’s "Dance of Salome": This chapter contrasts Beardsley’s work with the Renaissance perspective, highlighting the differences in moral messaging and the portrayal of social status.
4. Comparison with Gustave Moreau’s "Salomé Dansant Devant Hérode": This analysis discusses the mystical atmosphere and the symbolic complexity in Moreau’s Pre-Raphaelite approach to the Salomé narrative.
5. Conclusion: The final chapter summarizes how the various artists utilized the "femme fatale" figure and highlights Beardsley's unique ability to capture the "invisible dance."
Keywords
Salomé, Oscar Wilde, Aubrey Beardsley, Decadence, femme fatale, dance of the seven veils, visual symbolism, Japonisme, Benozzo Gozzoli, Gustave Moreau, art history, gender roles, nineteenth century, illustration, power.
Frequently Asked Questions
What is the primary subject of this essay?
The essay analyzes the visual representation of Salome's dance in Oscar Wilde’s play through the lens of Aubrey Beardsley’s illustrations compared to the artistic traditions of Benozzo Gozzoli and Gustave Moreau.
What are the central themes discussed?
The core themes include the representation of female power, the "femme fatale" archetype, the interplay of sexuality and death, and the evolution of artistic symbolism in the late 19th century.
What is the main objective of the paper?
The goal is to demonstrate how different artists, specifically Beardsley, have interpreted the Salomé story to reflect or challenge the cultural values regarding gender and sexuality of their respective eras.
Which scientific method is applied?
The work utilizes a comparative art-historical and literary analysis, examining both the visual elements of the artworks and their relationship to the text of Oscar Wilde’s play.
What does the main body of the work cover?
The main body provides detailed iconographic analyses of specific artworks, discussing their composition, use of light and color, and the psychological subtext regarding male and female roles.
Which keywords define this work?
Key terms include Salomé, Decadence, femme fatale, symbolism, gender, power, and visual narrative.
How does Beardsley’s "The Stomach Dance" differ from traditional representations?
Beardsley abandons realistic perspective and lighting in favor of high-contrast black-and-white lines, incorporating grotesque sexual symbols that contrast sharply with the more traditional, moralizing depictions of earlier centuries.
What role does the "femme fatale" play in the compared artworks?
The "femme fatale" is portrayed as a source of power and potential danger to men, shifting from a biblically chaste or condemned figure in earlier art to a more complex, sexually empowered subject in Beardsley’s work.
What conclusion does the author reach regarding the "invisible dance"?
The author concludes that while many artists depicted the physical act of dancing, Beardsley is unique in his ability to capture the psychological and "invisible" essence of the dance as hinted at in Wilde's correspondence.
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- Christina Haupt (Autor:in), 2015, Aubrey Beardsley's Illustrations to Oscar Wilde's "Salomé" (1894). A comparison of Beardsley's illustrations to two earlier paintings of the same subject, München, GRIN Verlag, https://www.grin.com/document/369411
