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

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Martha Hollander, An Entrance for the Eyes: Space and Meaning in Seventeenth-Century Dutch Art (University of California Press, 2002), pp. 11–12. Bonilla y San Martin, Adolfo. El mito de Psyquis: un cuento de niños, una tradición simbólica y un estudio sobre el problema fundamental de la filosofía. Barcelona: Imprenta de Henrich y Cia. 1908. Cupid and Psyche is a story originally from Metamorphoses (also called The Golden Ass), written in the 2nd century AD by Lucius Apuleius Madaurensis (or Platonicus). [2] The tale concerns the overcoming of obstacles to the love between Psyche ( / ˈ s aɪ k iː/; Ancient Greek: Ψυχή, lit.'Soul' or 'Breath of Life', Greek pronunciation: [psyːkʰɛ̌ː]) and Cupid ( Latin: Cupido, lit.'Desire', Latin pronunciation: [kʊˈpiːd̪oː]) or Amor ( lit. 'Love', Greek Eros, Ἔρως), and their ultimate union in a sacred marriage. Although the only extended narrative from antiquity is that of Apuleius from 2nd century AD, Eros and Psyche appear in Greek art as early as the 4th century BC. The story's Neoplatonic elements and allusions to mystery religions accommodate multiple interpretations, [3] and it has been analyzed as an allegory and in light of folktale, Märchen or fairy tale, and myth. [4] Max Nelson, "Narcissus: Myth and Magic," Classical Journal 95.4 (2000), p. 364, citing S. Lancel, " Curiositas et préoccupations spirituelles chez Apulée," Revue de l'histoire des religions 160 (1961), pp. 41–45.

Alicia has been working for artincontext.com since 2021 as an author and art history expert. She has specialized in painting analysis and is covering most of our painting analysis. Robert H.F. Carver, "The Rediscovery of the Latin Novels," in Latin Fiction: The Latin Novel in Context (Routledge, 1999), p. 257; Regine May, "The Prologue to Apuleius' Metamorphoses and Coluccio Salutati: MS Harley 4838," in Ancient Narrative. Lectiones Scrupulosae : Essays on the Text and Interpretation of Apuleius' Metamorphoses in Honour of Maaike Zimmerman (Barkhuis, 2006), p. 282. Mattei, Marina. "Literary and Figurative Themes. Cupid and Psyche in Apuleius' fabula, crucible of all the fairy-tales in the world". In: The Tale of Cupid and Psyche: Myth in Art from Antiquity to Canova. Edited by Maria Grazia Bernardini. L'Erma de Bretschneider, 2012. p. 42. ISBN 978-88-8265-722-2.While this is a brief description of the story involving Cupid and Psyche, it explains the storyline that Antonio Canova drew inspiration from, and notably the climax of the story when Psyche is saved by Cupid.

Hard, Robin, The Routledge Handbook of Greek Mythology: Based on H.J. Rose's "Handbook of Greek Mythology", Psychology Press, 2004, ISBN 9780415186360. Google Books. Kingsley-Smith, Cupid in Early Modern Literature and Culture, pp. 163, 168. The fresco cycle, commissioned by Sir Thomas Smith, was based on engravings by the Master of the Die and Agostino Veneziano (1536), which had been taken from the work of Michiel Coxie that was modeled on the Loggia di Psiche. Although her two humanly beautiful sisters have married, the idolized Psyche has yet to find love. Her father suspects that they have incurred the wrath of the gods, and consults the oracle of Apollo. The response is unsettling: the king is to expect not a human son-in-law, but rather a dragon-like creature who harasses the world with fire and iron and is feared by even Jupiter and the inhabitants of the underworld. Once, when Venus’ son [Eros] was kissing her, his quiver dangling down, a jutting arrow, unbeknown, had grazed her breast. She pushed the boy away. In fact the wound was deeper than it seemed, though unperceived at first. [And she became] enraptured by the beauty of a man [ Adonis].” ( Metamorphoses) [25] In modern astronomy, the asteroid 433 Eros, takes its name from him. [16] Mythology [ edit ] Primordial god [ edit ]The transported girl awakes to find herself at the edge of a cultivated grove ( lucus). Exploring, she finds a marvelous house with golden columns, a carved ceiling of citrus wood and ivory, silver walls embossed with wild and domesticated animals, and jeweled mosaic floors. A disembodied voice tells her to make herself comfortable, and she is entertained at a feast that serves itself and by singing to an invisible lyre. In Greek mythology, Eros ( UK: / ˈ ɪər ɒ s, ˈ ɛr ɒ s/, US: / ˈ ɛr ɒ s, ˈ ɛr oʊ s/; [4] Ancient Greek: Ἔρως, lit.'Love, Desire') is the Greek god of love and sex. His Roman counterpart was Cupid ('desire'). [5] In the earliest account, he is a primordial god, while in later accounts he is described as one of the children of Aphrodite and Ares and, with some of his siblings, was one of the Erotes, a group of winged love gods.

The Thespians celebrated the Erotidia ( Ancient Greek: Ἐρωτίδεια) meaning festivals of Eros. [12] [13] [14] Stephen Harrison, "Divine Authority in 'Cupid and Psyche': Apuleius Metamorphoses 6,23–24," in Ancient Narrative: Authors, Authority, and Interpreters in the Ancient Novel. Essays in Honor of Gareth L. Schmeling (Barkhuis, 2006), p. 182.Amy K. Levin, The Suppressed Sister: A Relationship in Novels by Nineteenth- and Twentieth-Century British Women (Associated University Presses, 1992), pp. 23–24 et passim. Dowden, Ken (October 1979). "Detlev Fehling: Amor und Psyche: Die Schöpfung des Apuleius und ihre Einwirkung auf das Märchen, eine Kritik der romantischen Märchentheorie. (Akademie der Wissenschaften und der Literatur: Abhandlungen der Geistes- und Sozialwissenschaftlichen Klasse: Jahrgang 1977: Nr. 9.) Pp. 110. Wiesbaden: Franz Steiner, 1977. Paper, DM. 28". The Classical Review. 29 (2): 314. doi: 10.1017/S0009840X00233465.