Csornay Boldizsár - Dobos Zsuzsa - Varga Ágota - Zakariás János szerk.: A Szépművészeti Múzeum közleményei 98. (Budapest, 2003)

GOLDFARB, HILLIARD T.: A Mysterious Beauty and a French Attribution: The Sleeping Magdalen of Budapest

31. Claude Vignon: Salome Carrying the Head of John the Baptist to Herod. Rome, Collection Fabrizio Lemme of defining and highlighting hair and feathers with assertive yet fine parallel strokes, the wide fingers, and the thick brushstrokes and parallel highlights used in textile fabrics, especially the white chemises. In general, the treatment of the chemises in defining folds and ruffs, and the way that the folds of the draperies about the arms fall in independent deep folds, are strikingly like the Budapest picture, particularly the creating of chevron-like, deep parallel folds of material in the sleeves of the cited Vignon paintings of about 1623. As further comparisons, Vignon's Salome Carrying the Head of John the Baptist to Herod (fig. 31) and Herodiade and Marriage of Cana (destroyed) of about 1621-1623, are noteworthy for the characteristic painting of hair ornaments and jewelry.

21 Furthermore, the highlighting and tactile articulation of glistening textile details through very brief gold strokes (e.g. the bottom trim of the tablecloth in the Budapest picture and the mantle ofSaint Ambrose in the picture from Minneapolis) are evidently by the same hand. Remarkably alike colour juxtapositions and tonalities, as of golds with whites and turquoise blues and raspberry or burgundy, and the bold gold21 Ibid.. no. 42. p. 192 (also colourplate 7. p. 19) and no. 48, p. 197.