190:. According to the story, Psyche is a beautiful mortal, who is punished for her beauty by Venus, who is jealous of her beauty. Her punishment is left up to Venus's son Cupid, but he falls in love with Psyche. Cupid rescues Psyche from her ultimate demise by capturing her and bringing her to his castle. He keeps his identity secret in order not to upset his mother. Every night Cupid stays with Psyche and leaves in the morning before she wakes up. Psyche begins to wonder who he is, and tries to use a lamp to discover his true identity. Cupid catches her in this act and abandons her. In Apuleius's story, the remainder of the myth is about Psyche trying to regain Cupid's love. David's picture captures the moment in the morning when Cupid sneaks off after spending the night with her. The art historian Mary Vidal has argued that David's painting engages with the ambiguity and reversals of meaning in Apuleius's original work, recreating the author's âdeceptive approach to an allegory.â
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cry from the idealized bodies typical of the time. Cupid's positioning and gaze break the separation between the subject and the viewer. He appears to step out of the painting into reality and his gaze is directed at the viewer. This creates, according to the art historian
Dorothy Johnson, an uncomfortable sensation when looking at the painting as it âmakes the viewers complicit in this power dynamicâ between Cupid and Psyche.
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The overwhelming the response, however, was negative. The ruling class preferred more idealized works, as the realism was seen as immoral for hinting at sexual undertones. Gros, who was otherwise a known supporter of David, said that âthe head of Amor has a somewhat faun-like character, the hands are
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The painting features Cupid sneaking off as Psyche peacefully sleeps in the background. The setting is decorative and cluttered, as David tries to communicate the circumstances of Psyche's imprisonment. The dark, deep colors and the overwhelming canopy contrast with the setting in the background. The
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Two supportive articles about the painting appeared when it was first shown, but they were likely influenced by David himself. Both of them focused on the realism, one article saying it was a "purely historical" approach to mythology. When put into contrast with Picot's work, the realism was further
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In David's version, Cupid appears to be sinister while Psyche is vulnerable, suggesting a slightly perverted relationship between the two. Cupid seems almost unhealthy; his complexion is muddied, and his expression and body language seem unloving, bordering on hostile, and his body is scrawny, a far
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Psyche's pose has also been compared with Titian and
Correggio's depictions of reclining goddesses. Her facial expression is innocent and beautiful. She is still asleep, emphasizing her vulnerability. The contrast between sweet Psyche and vulgar Cupid is important to the novelty that art historians
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The most striking detail of this painting is the hyper-realistic depiction of Cupid's body and his expression. David's original study shows he always intended to paint Cupid in this manner, even before his exile. Cupid's wings continue this style, as they are worn out and ugly, making Cupid seem to
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from 1798 is sometimes cited as a comparison. In GĂ©rard's work, both characters are painted in an idealized way that emphasizes the purity of young love. Traditional depictions of the myth also usually did not implicate Cupid and portrayed him as largely innocent and beautiful. Art historians have
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landscape, according to Mary Vidal, symbolizes a âjourney, renewal and illumination,â which contrasts with Psyche's circumstances. The bodies of both Cupid and Psyche are illuminated in contrast with the dark colors of the background, further highlighting their unidealized appearance.
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David began the project prior to his exile, and he made numerous changes to his design after arriving in
Brussels. He made significant alterations after the design was transferred to canvas, which was unusual. The biggest change was the decoration of the interior in the
127:. Critics generally saw the painting's unconventional style and realistic depiction of Cupid as proof of David's decline while in exile, but art historians have come to see the work as a deliberate departure from traditional methods of representing mythological figures.
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had offered David a pardon for his activities during the
Revolution, but the painter decided instead to enter exile in Brussels. Up to this time, David had often been regarded as an imitator of ancient art. His typical style was what the German art historian
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There is a small detail of a butterfly above Psyche. The flying butterfly symbolizes, according to the art historian Issa Lampe, both âdeath and transcendence," serving as a commentary on Cupid's departure from Psyche every morning.
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Vidal, Mary. ââWith a Pretty
Whisperâ: Deception and Transformation in David's Cupid and Psyche and Apuleius's Metamorphoses.â Wiley Online Library 22, no. 2 (2003): 214â243. https://doi.org/10.1111/1467-8365.00150
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Lampe, Issa. âRepainting Love
Leaving Psyche: David's Memorial to an Empire Past.â in David after David, edited by Mark Ledbury, 108-121. Massachusetts: Sterling and Francine Art Institute, 2007
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Lampe, Issa. âRepainting Love
Leaving Psyche: David's Memorial to an Empire Past.â in David after David, edited by Mark Ledbury, 108â121. Massachusetts: Sterling and Francine Art Institute, 2007
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somewhat dark and above all not refined enough.â Other critics were confused by the deviation from Cupid's typical appearance and were disturbed by the distortion of it.
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in Paris in 1813, then completed it while in exile in
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described as the âbeau ideal.â This style focused on an idealized image of bodies. David's style had also previously been characterized by its simplicity.
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dramatically deviates from these traits. When it debuted in Paris, many viewers saw it as a symbol of the negative effect of David's exile.
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Analyses of the painting typically focus on the realistic portrayal of Cupid, which deviates from the traditional treatment of the myth.
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Francis, Henry. âJacques Louis David: Cupid and Psyche.â The
Bulletin of the Cleveland Museum of Art 50, no. 2 (1963): 29â34.
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Johnson, Dorothy. Jacques-Louis David: Art in
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Jacques-Louis David 1748â1825 : catalogue de l'exposition rĂ©trospective Louvre-Versailles 1989â1990
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According to David's correspondence, he had become interested in the story of
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and wanted put a new twist on an overused theme through his use of realism.
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https://www.wikiart.org/en/jacques-louis-david/cupid-and-psyche-1817
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Francis, Henry S. (1963). "Jacques Louis David: Cupid and Psyche".
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Saint Roch Interceding with the Virgin for the Plague-Stricken
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Jacques-Louis David: The Farewell of Telemachus and Eucharis
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https://www.artrenewal.org/Article/Title/cupid-and-psyche
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Erasistratus Discovering the Cause of Antiochus' Disease
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Saint Jerome Hears the Trumpet of the Last Judgment
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478:. University of Delaware Press. p. 145.
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540:10.1093/gao/9781884446054.article.t021541
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305:List of paintings by Jacques-Louis David
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505:. Getty Publications. p. 8.
413:Jacques Louis David: 88 Paintings
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1403:Psyche Revived by Cupid's Kiss
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750:. Princeton University Press.
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472:David, Jacques Louis (2006).
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410:Bender, Narim (2015-04-29).
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956:Portrait of Alphonse Leroy
948:Andromache Mourning Hector
852:Portrait of François Buron
785:, Cleveland Museum of Art,
578:Francis, Henry S. (1963).
348:David et le néoclassicisme
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676:Vidal, Mary (June 1999).
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161:Patronage and inspiration
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658:. Yale University Press.
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1475:Cupid Crowned by Psyche
1188:Leonidas at Thermopylae
1060:The Death of Young Bara
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416:. Osmora Incorporated.
121:Gian Battista Sommariva
109:Cleveland Museum of Art
103:is an 1817 painting by
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528:"David, Jacques-Louis"
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940:Christ on the Cross
884:The Death of Seneca
860:Jupiter and Antiope
830:Jacques-Louis David
526:Lee, Simon (2003).
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105:Jacques-Louis David
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1602:Till We Have Faces
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757:0-691-03218-1
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187:Metamorphoses
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1641:The Visitors
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1055:(1793, lost)
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590:(2): 29â34.
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553:. Retrieved
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1543:(1671 play)
1127:(1800â1805)
682:Art History
361:Simon Lee,
185:Apuleius's
151:Winckelmann
146:Louis XVIII
111:. It shows
1697:Categories
1306:Characters
555:2022-11-01
397:References
371:0714891053
356:2879391865
341:2711823261
131:Background
62:Dimensions
1422:Paintings
1381:Sculpture
1031:(c. 1792)
975:(c. 1787)
838:Paintings
766:471523490
704:0141-6790
596:0009-8841
451:0009-8841
286:Criticism
167:Sommariva
1723:Nude art
1623:" (2006)
1259:Category
604:25151934
459:25151934
388:25151934
299:See also
219:Analysis
117:Brussels
70:Location
1658:Related
1231:Related
277:Titian
261:Picot,
227:Gerard
1669:(play)
1605:(1956)
1597:(1942)
1589:(1650)
1578:Novels
1570:(1885)
1562:(1819)
1551:Poetry
1541:Psyché
1354:Psyché
1346:Psyche
1329:Psyche
1322:Erotes
1223:(1824)
1215:(1819)
1207:(1818)
1199:(1817)
1191:(1814)
1183:(1812)
1175:(1811)
1167:(1810)
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1151:(1807)
1143:(1805)
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231:(1798)
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36:Artist
1613:Music
1534:Stage
1338:Opera
1313:Cupid
600:JSTOR
455:JSTOR
384:JSTOR
363:David
136:Exile
125:Cupid
81:[
1317:Eros
762:OCLC
752:ISBN
700:ISSN
592:ISSN
544:ISBN
507:ISBN
480:ISBN
447:ISSN
418:ISBN
367:ISBN
352:ISBN
337:ISBN
322:ISBN
57:1817
54:Year
690:doi
536:doi
97:or
1699::
760:.
712:^
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686:22
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664:^
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1619:"
1315:/
1291:e
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85:]
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
