Salome's Last Dance by Oscar Wilde | Ken Russell | 1988
1:28:55 - English, with Spanish subtitles
A lost masterpiece by Venetian artist Titian which was once owned by King Charles I and worth millions was mistakenly sold at auction for just £8,000, it emerged yesterday.
The £4million 16th century painting - Salome with the Head of St John the Baptist - was originally unearthed during a house clearance in 1993.
Its unsuspecting owners took it to auction house Christie's in London where they were told that it was probably 'from the school of Titian', but not by the hand of the master himself.
Read more: http://www.dailymail.co.uk/news/article-1253512/Christies-auction-house-accused-selling-6million-Titian-painting-just-8-000.html#ixzz3i5EjADeC
original ost date: 25 February 2010
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Found on You Tube - hopefully it stays up! English with Spanish subtitles.
This is part of a series called 'Expectations - Future' by Dutch sculptor/photographer Eveline van Duyl
From Madonna to Madonna by Nicola Verlato
while this isn't Salome, it fits the theme.......
from the series "Pagan Pop" - Interview in Huffington Post
This video is currently found on a Russian channel on You Tube :
should it for some reason disappear (as did the previously embedded version on an English channel) - below is a remastered version uploaded to this blog directly. However, it may not load very well at first which may require patient waiting:
"There is no sound. I hear nothing. Why does he not cry out, this man?
Ah! if any man sought to kill me, I would cry out, I would struggle, I would not suffer....
Strike, strike, Naaman, strike, I tell you....
No, I hear nothing. There is a silence, a terrible silence. Ah!"
In 1904 Oscar Wilde’s play Salome was produced in Munich, followed shortly after by Richard Strauss’s opera Salome. In 1906 Franz von Stuck painted three versions of Salome (Voss 310), each showing Salome dancing, offering her nude body frontally, head twisted backwards over her shoulder. In preparation, Stuck or his wife Mary took a series of photographs of a model posing in front of a white canvas, stretched in a dark frame. The vertical columns of the dark frame, as it appears in the photo, might have been on Adolf Frey-Mook’s mind when he established the rigidly vertical figure of his Salome. He borrowed from Stuck the radiant head of John the Baptist, which in turn might have been inspired by Gustave Moreau’s Apparition of 1876. Frey-Moock’s color juxtaposition of dark shadows and glowing flesh are reminiscent of Stuck’s Sin (Die Sünde,1892), an omnipresent icon of the 1890’s to 1910’s (Stuck painted at least twelve versions of it). In fact, Stuck displayed Sin as an altar piece in the very studio where Frey-Moock was working as an assistant in 1906.
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