Pierre-Amédée MARCEL-BERONNEAU (Bordeaux, 1869 - La Seyne-sur-Mer, 1937) Salomé Gouache Signed twice, 'P. Marcel-Béronneau' lower left, 'P. Marcel-Béronneau' lower right and a third time 'Marcel Béronneau' in pencil on verso (Paper torn off around the edges) No frame Salome, gouache, signed, by P. -A. Marcel-Beronneau 12.99 x 9.65 in. 33.0 x 24.5 cm Provenance: Gérard Lévy Collection ; Then by descent Dating from the mid-1900s, the gouache we are presenting is part of the important serial work that Marcel-Beronneau devoted over several decades to the figure of Salome. From his earliest youth, he drew on Moreau's biblical iconography, so celebrated by Huysmans, exhibiting a Salome bearing the head of Saint John the Baptist at the Salon des Artistes Français in 1896 (cat. no. 182), which was immediately noticed by the critic Arsène Alexandre, who, in the columns of Le Figaro, saw Marcel-Beronneau as a perfect "Gustave-Moriste". Our work is a good illustration of the singular way in which the young painter, in the years that followed, made this theme his own, moving away from the plastic references of his master. Here, the veiled figure of Salome stands in a landscape of glowing rocks. Quickly outlined by two small white slits in the middle of the turbaned face, the eyes concentrate the seductive and hypnotising power of Herodias' daughter. Pierre-Amédée MARCEL-BERONNEAU (Bordeaux, 1869 - La Seyne-sur-Mer, 1937) 33.0 x 24.5 cm Dating from the mid-1900s, the gouache presented here is part of the important serial work that Marcel-Beronneau devoted over several decades to the figure of Salome. From his earliest youth, he drew on Moreau's biblical iconography, so celebrated by Huysmans, exhibiting a Salome bearing the head of Saint John the Baptist at the Salon des Artistes Français in 1896 (cat. no. 182), which was immediately noticed by the critic Arsène Alexandre, who, in the columns of Le Figaro, saw Marcel-Beronneau as a perfect "Gustave-Moriste". Our work is a good illustration of the singular way in which the young painter, in the years that followed, made this theme his own, moving away from the plastic references of his master. Here, the veiled figure of Salome stands in a landscape of glowing rocks. Quickly outlined by two small white slits in the middle of the turbaned face, the eyes concentrate the seductive and hypnotising power of Herodias' daughter.