This theme was already represented by the painter in 1917, on a canvas now owned by the National Museum of Visual Arts of Montevideo.

The canvas from the Julio Romero de Torres Museum in Córdoba, signed in 1926, conforms to the literary-inspired iconography of Salomé with the severed head of the Baptist served on a silver platter, a story that is completed with the representation in the background of the prophet in the Jordan. Although, for the representation of the protagonist, the painter has deprived her of the aura of femme fatale so recurrent in the work of other authors from the end of the century, contrary to what he did in the first version of the theme. Instead, he opts for a much more human representation of the female character, without the symbolist excess. This idea is reinforced by the selection of popular face models for the representation of the characters: Asunción Boué for Salomé and Amalia “la Gitana” for the head of the Baptist, both recurring models in the work of Romero de Torres.