Having been recently awakened, Psyche reaches up towards her lover, Cupid, as he gently holds her by supporting her head and breast. [1] The two lovers appear to be alive as the execution Antonio Canova has done on the marble depicts realistic smooth skin, contrasted by the elements surrounding the two figures. Loosely draped around Psyche’s lower body, a sheet further emphasizes the difference between the texture of skin and drapery. Rough texture provides the basis of the rock upon which the composition is placed supplementing the distinctions of elements. Fine curls and lines provide the hair and light feathery details create realistic wings upon the landing Cupid.
Prior to the development of the sculpture, a modello was used by Canova for the piece as there are multiples of the same subject and composition but there are variances between each version. The original statue, 1787-93, was commissioned by Colonel John Campbell and is now located in the Musée du Louvre in Paris, France. [2] An example of a modello of Psyche Revived by Cupid’s Kiss is seen Hugh Douglas Hamilton’s 1788-89 pastel of Antonio Canova and Henry Tresham with a Model for Cupid and Psyche. [3]
Psyche had been warned by Venus against the opening of the jar she was given to collect a scrap of beauty from Proserpina for Venus: "’But I give you one especially strong warning. Do not open or peep into the [jar] you carry, and repress all curiosity as to the Imprisoned Treasure of Divine Beauty.’” [4] Curiosity gave way just as Psyche had returned from her voyage into the Underworld and so Psyche peered into the jar to take some of the Divine Beauty for herself. However, Proserpina had not filled it with the Beauty, but rather with the “ Sleep of the Innermost Darkness, the night of Styx, which freed from its cell rushed upon her and penetrated her whole body with a heavy cloud of unconsciousness and unfolded her where she lay.” [5] It is within the moment in which Psyche is “a corpse asleep” revived by Cupid that Canova chose to depict. [6] “Delicately purging her of the Sleep, which he put back in its original lair the [jar], he roused Psyche with a charming prick of his Arrow.” [7] Various details such as the jar behind Psyche allude to the story by Apuleius as Psyche had just opened it and had gone to sleep thus the jar remains lying beside her. Additionally the arrow which Cupid struck Psyche with to awaken her is also found near the jar and Cupid wears a quiver next to his waist.
The statue is not meant to be immobile. In fact there is a handle near one of Psyche’s feet as the statue was meant to revolve rather than remain stationary. Many of Canova’s sculptures had custom built settings or a device that would move the base, thus the handle provided for some of the movement of the statue. [8] This movement emphasizes the emotion and beauty of the sculpture while piquing interest from all angles. Carl Ludwig Fernow, a critic of Canova, complained greatly about the vitality of the embracing figures as there is no singular view from which it should be seen. He stated, “‘you must run around it, look at it from high and low, up and down, look at it again and keep getting lost.’ [9] Fernow continued that one’s view must have a singular fixed point without the entire piece striking the viewer. [10] Fernow’s criticism of Canova’s work is truly a complaint of having to view the sculpture by walking around it rather than from one perspective. Rather than seeing Canova’s piece as stimulating and thought-provoking, Fernow would seem to be speaking out of jealousy and laziness. Furthermore, Fernow continues, “‘this effort is somewhat mitigated, for the group perches on a pedestal and can be walked around at will; but the observer strives in vain to find a point of view from which to see both faces together, and in which to reduce each ray of tender expression to one central point of convergence.’” [11]
Other criticism the work of art faced was due to the “erotic and sensual element.” [12] This element is interpreted from Psyche and Cupid as the lovers are in an embrace carefree of who may be viewing them. [13] Flaubert was amongst those who criticized the word as sensual however in a positive way as he himself kissed Psyche as he noted what he kissed; “’the armpit of the swooning woman stretching out her long marble arms to Cupid. And then the foot! The head! Her face! Forgive me, but it was my first sensual kiss for so long; indeed it was something more.’” [14] The excitement which Flaubert exhibited continued by saying that he was kissing beauty itself. [15]
The sculptor himself was born in 1757 in Possagno, Italy, was raised by his stonemason paternal grandfather, Pasino Canova. [16] Venetian Senator Giovanni Falier was Canova’s patron with great influence which started Canova’s career. [17] During Napoleon Bonaparte's campaigns of 1796-1797, Napoleon caught wind of Canova’s sculpture; “General Bonaparte offered Canova his protection and greatly flattered the sculptor, and later, when he was military dictator of France as first consul, he sought to enlist Canova’s considerable talents for his own glorification.” [18] Canova however, deemed himself an independent artist and had previously rejected a court invitation from Czarina Catherine II, but Canova believed “art was above politics.” [19] Yet this was not enough as “in the end power politics, manifested in French pressure on the papacy, forced [Canova] to acquiesce.” [20] Against his wishes, Canova gained various titles and honors such as “Cavaliere of the Golden Spur, Cavaliere di Cristo,[and] marquisate of Ischia. [21] Canova was a wildly successful independent sculptor and his skill and talent is evident within his works such as Psyche Revived by Cupid’s Kiss.
- ^ Isabella Teotochi Albrizzi, Manlio Pastore Stocchi, and Gianni Venturi, Opere Di Scultura e Di Plastica Di Antonio Canova. (Bassano del Grappa: Istituto di Nicerca per gli Studi su Canova e il Neoclassicismo, 2003), 76.
- ^ Christopher M. S. Johns, Antonio Canova and the Politics of Patronage in Revolutionary and Napoleonic Europe, (Berkeley: University of California Press, 1998), 149.
- ^ Ibid.
- ^ Apuleius. The Golden Ass. trans. Lindsay, Jack. Bloomington, Indiana: Indiana University Press, 1962: 139-140.
- ^ Ibid.
- ^ Ibid.
- ^ Ibid.
- ^ Potts, Alex. The Sculptural Imagination: Figurative, Modernist, Minimalist. Yale University Press: 2000: 40.
- ^ Pavanello,Giuseppe and Giandomenico, Romanelli, ed. Canova. New York: Marsilio Publishers, 1992: 236.
- ^ Ibid.
- ^ Ibid.
- ^ Ed. Pavanello and Romanelli, Canova, 236.
- ^ Michael Kimmelman, "ART VIEW; in Venice, Viewers are Becoming Voyeurs." New York Times, Jul 19, A.25. ( 1992.) http://search.proquest.com/docview/428588768?accountid=4840.
- ^ Ed. Pavanello and Romanelli, Canova, 236.
- ^ Ibid.
- ^ Christopher M. S. Johns, Antonio Canova and the Politics of Patronage in Revolutionary and Napoleonic Europe, (Berkeley: University of California Press, 1998), 15.
- ^ Ibid.
- ^ Ibid., 19.
- ^ Ibid., 19, 22.
- ^ Ibid., 19.
- ^ Ibid., 20.
- Apuleius. The Golden Ass. trans. Lindsay, Jack. Bloomington, Indiana: Indiana University Press, 1962: 139-140.
- Johns, Christopher M. S. Antonio Canova and the Politics of Patronage in Revolutionary and Napoleonic Europe. Berkeley: University of California Press, 1998: 15, 17-22, 149.
- Kimmelman, Michael. "ART VIEW; in Venice, Viewers are Becoming Voyeurs." New York Times, Jul 19, A.25: 1992. http://search.proquest.com/docview/428588768?accountid=4840.
- Potts, Alex. The Sculptural Imagination: Figurative, Modernist, Minimalist. Yale University Press: 2000: 40.
- Pavanello,Giuseppe and Giandomenico, Romanelli, ed. Canova. New York: Marsilio Publishers, 1992: 236.
- Teotochi Albrizzi, Isabella, Manlio Pastore Stocchi, and Gianni Venturi. Opere Di Scultura e Di Plastica Di Antonio Canova. Bassano del Grappa: Istituto di Nicerca per gli Studi su Canova e il Neoclassicismo, 2003: 76.
Having been recently awakened, Psyche reaches up towards her lover, Cupid, as he gently holds her by supporting her head and breast. [1] The two lovers appear to be alive as the execution Antonio Canova has done on the marble depicts realistic smooth skin, contrasted by the elements surrounding the two figures. Loosely draped around Psyche’s lower body, a sheet further emphasizes the difference between the texture of skin and drapery. Rough texture provides the basis of the rock upon which the composition is placed supplementing the distinctions of elements. Fine curls and lines provide the hair and light feathery details create realistic wings upon the landing Cupid.
Prior to the development of the sculpture, a modello was used by Canova for the piece as there are multiples of the same subject and composition but there are variances between each version. The original statue, 1787-93, was commissioned by Colonel John Campbell and is now located in the Musée du Louvre in Paris, France. [2] An example of a modello of Psyche Revived by Cupid’s Kiss is seen Hugh Douglas Hamilton’s 1788-89 pastel of Antonio Canova and Henry Tresham with a Model for Cupid and Psyche. [3]
Psyche had been warned by Venus against the opening of the jar she was given to collect a scrap of beauty from Proserpina for Venus: "’But I give you one especially strong warning. Do not open or peep into the [jar] you carry, and repress all curiosity as to the Imprisoned Treasure of Divine Beauty.’” [4] Curiosity gave way just as Psyche had returned from her voyage into the Underworld and so Psyche peered into the jar to take some of the Divine Beauty for herself. However, Proserpina had not filled it with the Beauty, but rather with the “ Sleep of the Innermost Darkness, the night of Styx, which freed from its cell rushed upon her and penetrated her whole body with a heavy cloud of unconsciousness and unfolded her where she lay.” [5] It is within the moment in which Psyche is “a corpse asleep” revived by Cupid that Canova chose to depict. [6] “Delicately purging her of the Sleep, which he put back in its original lair the [jar], he roused Psyche with a charming prick of his Arrow.” [7] Various details such as the jar behind Psyche allude to the story by Apuleius as Psyche had just opened it and had gone to sleep thus the jar remains lying beside her. Additionally the arrow which Cupid struck Psyche with to awaken her is also found near the jar and Cupid wears a quiver next to his waist.
The statue is not meant to be immobile. In fact there is a handle near one of Psyche’s feet as the statue was meant to revolve rather than remain stationary. Many of Canova’s sculptures had custom built settings or a device that would move the base, thus the handle provided for some of the movement of the statue. [8] This movement emphasizes the emotion and beauty of the sculpture while piquing interest from all angles. Carl Ludwig Fernow, a critic of Canova, complained greatly about the vitality of the embracing figures as there is no singular view from which it should be seen. He stated, “‘you must run around it, look at it from high and low, up and down, look at it again and keep getting lost.’ [9] Fernow continued that one’s view must have a singular fixed point without the entire piece striking the viewer. [10] Fernow’s criticism of Canova’s work is truly a complaint of having to view the sculpture by walking around it rather than from one perspective. Rather than seeing Canova’s piece as stimulating and thought-provoking, Fernow would seem to be speaking out of jealousy and laziness. Furthermore, Fernow continues, “‘this effort is somewhat mitigated, for the group perches on a pedestal and can be walked around at will; but the observer strives in vain to find a point of view from which to see both faces together, and in which to reduce each ray of tender expression to one central point of convergence.’” [11]
Other criticism the work of art faced was due to the “erotic and sensual element.” [12] This element is interpreted from Psyche and Cupid as the lovers are in an embrace carefree of who may be viewing them. [13] Flaubert was amongst those who criticized the word as sensual however in a positive way as he himself kissed Psyche as he noted what he kissed; “’the armpit of the swooning woman stretching out her long marble arms to Cupid. And then the foot! The head! Her face! Forgive me, but it was my first sensual kiss for so long; indeed it was something more.’” [14] The excitement which Flaubert exhibited continued by saying that he was kissing beauty itself. [15]
The sculptor himself was born in 1757 in Possagno, Italy, was raised by his stonemason paternal grandfather, Pasino Canova. [16] Venetian Senator Giovanni Falier was Canova’s patron with great influence which started Canova’s career. [17] During Napoleon Bonaparte's campaigns of 1796-1797, Napoleon caught wind of Canova’s sculpture; “General Bonaparte offered Canova his protection and greatly flattered the sculptor, and later, when he was military dictator of France as first consul, he sought to enlist Canova’s considerable talents for his own glorification.” [18] Canova however, deemed himself an independent artist and had previously rejected a court invitation from Czarina Catherine II, but Canova believed “art was above politics.” [19] Yet this was not enough as “in the end power politics, manifested in French pressure on the papacy, forced [Canova] to acquiesce.” [20] Against his wishes, Canova gained various titles and honors such as “Cavaliere of the Golden Spur, Cavaliere di Cristo,[and] marquisate of Ischia. [21] Canova was a wildly successful independent sculptor and his skill and talent is evident within his works such as Psyche Revived by Cupid’s Kiss.
- ^ Isabella Teotochi Albrizzi, Manlio Pastore Stocchi, and Gianni Venturi, Opere Di Scultura e Di Plastica Di Antonio Canova. (Bassano del Grappa: Istituto di Nicerca per gli Studi su Canova e il Neoclassicismo, 2003), 76.
- ^ Christopher M. S. Johns, Antonio Canova and the Politics of Patronage in Revolutionary and Napoleonic Europe, (Berkeley: University of California Press, 1998), 149.
- ^ Ibid.
- ^ Apuleius. The Golden Ass. trans. Lindsay, Jack. Bloomington, Indiana: Indiana University Press, 1962: 139-140.
- ^ Ibid.
- ^ Ibid.
- ^ Ibid.
- ^ Potts, Alex. The Sculptural Imagination: Figurative, Modernist, Minimalist. Yale University Press: 2000: 40.
- ^ Pavanello,Giuseppe and Giandomenico, Romanelli, ed. Canova. New York: Marsilio Publishers, 1992: 236.
- ^ Ibid.
- ^ Ibid.
- ^ Ed. Pavanello and Romanelli, Canova, 236.
- ^ Michael Kimmelman, "ART VIEW; in Venice, Viewers are Becoming Voyeurs." New York Times, Jul 19, A.25. ( 1992.) http://search.proquest.com/docview/428588768?accountid=4840.
- ^ Ed. Pavanello and Romanelli, Canova, 236.
- ^ Ibid.
- ^ Christopher M. S. Johns, Antonio Canova and the Politics of Patronage in Revolutionary and Napoleonic Europe, (Berkeley: University of California Press, 1998), 15.
- ^ Ibid.
- ^ Ibid., 19.
- ^ Ibid., 19, 22.
- ^ Ibid., 19.
- ^ Ibid., 20.
- Apuleius. The Golden Ass. trans. Lindsay, Jack. Bloomington, Indiana: Indiana University Press, 1962: 139-140.
- Johns, Christopher M. S. Antonio Canova and the Politics of Patronage in Revolutionary and Napoleonic Europe. Berkeley: University of California Press, 1998: 15, 17-22, 149.
- Kimmelman, Michael. "ART VIEW; in Venice, Viewers are Becoming Voyeurs." New York Times, Jul 19, A.25: 1992. http://search.proquest.com/docview/428588768?accountid=4840.
- Potts, Alex. The Sculptural Imagination: Figurative, Modernist, Minimalist. Yale University Press: 2000: 40.
- Pavanello,Giuseppe and Giandomenico, Romanelli, ed. Canova. New York: Marsilio Publishers, 1992: 236.
- Teotochi Albrizzi, Isabella, Manlio Pastore Stocchi, and Gianni Venturi. Opere Di Scultura e Di Plastica Di Antonio Canova. Bassano del Grappa: Istituto di Nicerca per gli Studi su Canova e il Neoclassicismo, 2003: 76.