Psyche Revived by Cupid's Kiss Flashcards
Subject?
The sculpture represents the godCupid in the height of love and tenderness, immediately
after awakening the mortal sleeping Psyche with a kiss.
Classical Subject?
The mythological story is taken from Lucius Apuleius’ Latin novel The Golden Ass, and was
a popular subject amongst 18th century artists.
Sense of Passion?
Cupid caresses Psyche’s face with his right hand while his left covers her right breast. She
takes his head between her hands and pulling his face closer to hers in an intense
interchange of gazes
Composition?
Narrative drama is heightened by the sharp diagonals, such as Cupid’s wings and flexed
leg give the sculpture an upward thrust, while serpentine forms, such as Psyche’s
languishing torso, anchor it solidly to the rock upon which she lies. This combination of
horizontal and vertical accents lends great movement to the work, prompting the viewer
to examine the sculpture in the round.
Neoclassical style?
Whereas the Greeks and Romans sculpted bodies emphasising the anatomy and
musculature of the human figure, Canova’s Neoclassical style focuses on the fluidity of
line, grace and the softness of the flesh. Idealised forms and delicate rendering of drapery
reflect the growing influence of Neoclassicism. However Canova shows the mythological
lovers at a moment of great emotion, characteristic of the emerging movement
of Romanticism.
Faun and Bacchante fresco at Herculaneum?
Numerous sketches suggest Canova was inspired by the frescoes of the Faun and
Bacchante he encountered at Herculaneum - Canova elegantly refines the two figures
clinging violently to each other in a violent embrace.
Cupid and Psyche standing?
A similar sculpture produced by Canova – suggests that the classical subject with themes
of spiritual love transcending the senses preoccupied Canova.
Antithesis of age of enlightenment values?
The passionate love story between the godCupid and the mortal, Psyche embodies the
Age of Enlightenment conflict between reasonand feeling. In this case, however,
romantic love has clearly overpowered any sense of duty.
Two different strands of the
Neoclassicism: Canova vs. Jacques
Louis David?
The idealised and graceful beauty of Canova’s figures, as well as his emphasis
on themes of mythological love and passion (Paolina Borghese as Venus
Victorious) appealed to the tastes of the wealthy Grand Tourist - departing
from the rigid compositions and scenes of exemplum virtutis of Jacques
Louis David (Oath of the Horatii) –which became the unofficial style of the
French Revolution –informed by Englightenment ideals of rationality and
individual liberty.
Discovery of Herculaneum and Pompeii?
In the 18th century, the discoveries of the ancient Roman towns of Herculaneum and
Pompeii prompted a revival in interest of classical antiquity. Naples, Pompeii,
and Herculaneum became important stops on the European Grand Tour made by English
visitors.
Winckelmann?
German classicistJohann Joachim Winckelmann did much to popularize the excavations. (“In
order for us to be great, we must imitate the Greeks)”.
The Grand Tour?
During the 18th c it became fashionable for young aristocrats to visit Paris, Venice, Florence,
Rome, as the culmination (finale) of their classical education.
Canova?
Born to a family of stonecutters and sculptors, he worked in Venice and Rome, and
travelled extensively around Italy (including visits to Herculaneum and Pompeii). His
popularity amongst the European aristocracy was firmly established by 1800 and he was
appointed Inspector General of Antiquities and Fine Arts of the Papal States. He
produced classical portraits of Napoleon Bonaparte and the wider Bonaparte family.
Sir John Campbell (patron) and subsequent owners?
Scottish army colonel who travelled around Italy on the Grand Tour, purchasing
antiquities and commissioning paintings of archaeological sites in Naples and Sicily. He
met Canova in Naples and commissioned this sculpture –however never received it. It
was later acquired by Napoleon’s brother in law while a second version was bought by a
Russian prince.
18th century patronage and the Grand Tourist?
Travel was arduous and costly throughout the period, possible only for a privileged class.
The Grand Tourist was typically a young man with a thorough grounding in Greek and
Latin literature. Many artists such as Canova benefited from the patronage of Grand
Tourists eager to procure mementos of their travels.
