{"id":9773,"date":"2011-08-05T02:00:46","date_gmt":"2011-08-05T01:00:46","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=9773"},"modified":"2012-07-13T02:21:29","modified_gmt":"2012-07-13T01:21:29","slug":"wilhelm-volzs-salome","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2011\/08\/05\/wilhelm-volzs-salome\/","title":{"rendered":"Wilhelm Volz’s Salom\u00e9"},"content":{"rendered":"

\"volz.jpg\"<\/a><\/p>\n

Wilhelm Volz (1855\u20131901) was a German artist whose work I might not have paid any attention to at all had this lithograph not been featured in that cult volume Dreamers of Decadence<\/em><\/a>. As a composition it’s a lot more interesting than Volz’s paintings, the circle for a halo being an unusual detail. There’s also more of an atmosphere of horror in this representation than one usually finds with the Salom\u00e9 theme. The temptress doesn’t seem very enamored of her trophy, and John the Baptist’s head for once bears a suitable expression of horror. Volz’s print was published in Pan<\/em> magazine in 1896, the entire edition of which may be viewed here<\/a>.<\/p>\n

Elsewhere on { feuilleton }
\n\u2022 The Salom\u00e9 archive<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Wilhelm Volz (1855\u20131901) was a German artist whose work I might not have paid any attention to at all had this lithograph not been featured in that cult volume Dreamers of Decadence. As a composition it’s a lot more interesting than Volz’s paintings, the circle for a halo being an unusual detail. There’s also more … Continue reading “Wilhelm Volz’s Salom\u00e9”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,43],"tags":[785,2409,1495,1506,1208,1870,2785,1270,1490,123,1309,2602,2784],"class_list":["post-9773","post","type-post","status-publish","format-standard","hentry","category-art","category-magazines","tag-alla-nazimova","tag-caroline-smith","tag-john-vassos","tag-julius-klinger","tag-manuel-orazi","tag-marcus-behmer","tag-pan-magazine","tag-peter-reed","tag-rene-bull","tag-salome","tag-steven-berkoff","tag-valenti-angelo","tag-wilhelm-volz"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-2xD","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/9773","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=9773"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/9773\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=9773"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=9773"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=9773"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}