A young woman, clearly amused, seems to be walking towards the viewer with a dance-like step. Her shapely figure has been captured in a lively pose, and the body is covered only with a fabric carelessly wrapped around the hips. The girl is raising a goblet with a vigorous gesture of her right hand. The Dionysian character of sculpture, marked in the title, is emphasized by a vine twig gripped in the left hand.
Seductive Salome, as a symbol of a femme fatale, became a character of numerous paintings, sculptures, literary and musical works. She excited the imagination of artists, especially in the decadent period of fin de siècle, when possessive and lethal femininity constituted one of the most important motifs in art.
As a result of a competition, the costume and stage design for Karol Szymanowski's ballet, Harnasie, was prepared by Irena Lorentowicz, a stage designer and painter, a graduate of the Academy of Fine Arts in Warsaw. The costume design, including the drawings and models, has been exhibited since 24 April 1936 in the Orbis halls, located near the Opera building.
A vase with a flat bottom and a belly gradually widening upwards. Around the vessel a decorative ornament presenting a circle of dancing figures holding each other’s hands, also serving as a vase handle. The pottery and tile ware factory, J. Niedźwiecki and Co. in Dębniki, was also famous for the production of artistic faience in the years 1900–1910.
Salome, the daughter of Herodias and stepdaughter of King Herod Antipas, danced so beautifully that the ruler let her ask for anything she wanted. Her wish, suggested by cruel Herodias, was John the Baptist’s head. Biblical Salome is one of frequent motifs in the iconography of European art. The archetype of a dangerous seductress fascinated artists of all epochs.
Maria Jarema — born in an artistic family, the daughter of a Lviv pianist — explored the problem of dynamics, rhythm, and the musicality of a work of art both in paintings and in sculptures throughout her whole artistically devoted life.