Cupid & Psyche Alabaster Statue God Eros Nude LOVE & SOUL Sculpture Erotic Art

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Hood, Gwenyth. “Husbands and Gods as Shadowbrutes: Beauty and the Beast from Apuleius to C. S. Lewis”. In: Mythlore 56 Winter (1988): pp.33–60. Edwards, Lee R. (1979). "The Labors of Psyche: Toward a Theory of Female Heroism". Critical Inquiry. 6 (1): 33–49. doi: 10.1086/448026. JSTOR 1343084. S2CID 162110603. Gaisser, Julia Haig (2017). "Cupid and Psyche". A Handbook to the Reception of Classical Mythology. pp.337–351. doi: 10.1002/9781119072034.ch23. ISBN 9781119072034. In modern astronomy, the asteroid 433 Eros, takes its name from him. [16] Mythology [ edit ] Primordial god [ edit ] Robinson, James M. (2007) [1stpubl.1978]. "On the Origin of the World". The Nag Hammadi Scriptures. HarperCollins. ISBN 9780060523787.

Psyche Revived by Cupid’s Kiss by Antonio Canova is one of the artist’s greatest marble sculptures still standing today and, although it’s regarded as Neoclassical, it has also been described as teetering on the stylistic edges of Romanticism. The latter was an art movement that developed around the 1780s, giving way to more self-expression as is evident in the emotive moment when Canova’s Cupid awakens Psyche.

Folklore and children's literature [ edit ] Pan and Psyche (1872-74) by Edward Burne-Jones Origins [ edit ] The story of Cupid and Psyche was known to Boccaccio in c. 1370, but the editio princeps dates to 1469. Ever since, the reception of Cupid and Psyche in the classical tradition has been extensive. The story has been retold in poetry, drama, and opera, and depicted widely in painting, sculpture, and even wallpaper. [5] Though Psyche is usually referred to in Roman mythology by her Greek name, her Roman name through direct translation is Anima.

Mikalson, Jon D. (2015). The Sacred and Civil Calendar of the Athenian Year. Princeton University Press. p.186. ISBN 9781400870325. One of the most popular images from the tale was Psyche's discovery of a naked Cupid sleeping, found in ceramics, stained glass, and frescos. Mannerist painters were intensely drawn to the scene. [38] In England, the Cupid and Psyche theme had its "most lustrous period" from 1566 to 1635, beginning with the first English translation by William Adlington. A fresco cycle for Hill Hall, Essex, was modeled indirectly after that of the Villa Farnesina around 1570, [39] and Thomas Heywood's masque Love's Mistress dramatized the tale to celebrate the wedding of Charles I and Henrietta Maria, who later had her withdrawing chamber decorated with a 22-painting Cupid and Psyche cycle by Jacob Jordaens. The cycle took the divinization of Psyche as the centerpiece of the ceiling, and was a vehicle for the Neoplatonism the queen brought with her from France. [40] The Cupid and Psyche produced by Orazio Gentileschi for the royal couple shows a fully robed Psyche whose compelling interest is psychological, while Cupid is mostly nude. [41] Orazio Gentileschi exposed the erotic vulnerability of the male figure in his Cupid and Psyche (1628–30)Caldwell, Richard, Hesiod's Theogony, Focus Publishing/R. Pullins Company (June 1, 1987). ISBN 978-0-941051-00-2.