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<object xmlns:xs="//www.w3.org/2001/XMLSchema"><NoAIdisclaimer>[PLATZHALTERTEXT]Vervielfältigungen eines Werkes dieser Webseite für Text- und Data-Mining und damit insbesondere für das Training einer Künstlichen Intelligenz bleibt ausdrücklich vorbehalten (§ 42h Abs 6 UrhG).</NoAIdisclaimer><field label="PrimaryMedia" name="primaryMedia"><value>/internal/media/dispatcher/153592/full</value></field><field label="Title" name="title"><value>The Beheading of St. John the Baptist</value></field><field label="Date" name="displayDate"><value>c. 1755</value></field><field label="Dimensions" name="dimensions"><value>59 x 41 cm</value></field><field label="Medium" name="medium"><value>Oil on canvas</value></field><field label="Inventory number" name="invno"><value>6318</value></field><field label="On View" name="onview"><value>0</value></field><field label="Description" name="description"><value>
Salome does not appear entirely comfortable at the sight of John the Baptist’s decapitated head. Urged on by her mother, she had demanded the saint’s head as a reward for her dancing—so the biblical story goes. The artist emerges in all his radicality depicting the moment of beheading. Currently there are six known versions of this image in different formats but with virtually the same composition. The chiaroscuro and the expressive figures are reminiscent of Maulbertsch’s early style, yet the art historical research suggests that none of these works are by the master. These images do, however, clearly demonstrate the artist’s influence on his colleagues. </value></field><field label="Genre" name="classification"><value>Painting</value></field><field label="Id" name="id"><value>10194691</value></field><field label="Source ID" name="sourceId"><value>5068</value></field><field name="iiifManifest"><value>https://sammlungtest.belvedere.at/apis/iiif/presentation/v2/1-objects-5068/manifest</value></field></object>