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Cupid was the enemy of chastity, and the poet Ovid opposes him to Diana, the virgin goddess of the hunt who likewise carries a bow but who hates Cupid's passion-provoking arrows. [71] Cupid is also at odds with Apollo, the archer-brother of Diana and patron of poetic inspiration whose love affairs almost always end disastrously. Ovid jokingly ...
Amor Vincit Omnia shows Amor, the Roman Cupid, wearing dark eagle wings, half-sitting on or climbing down from what appears to be a table. Scattered around are the emblems of all human endeavors – violin and lute, armor, coronet, square and compasses, pen and manuscript, bay leaves, and flower, tangled and trampled under Cupid's foot.
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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. [7] Cupid's wings continue this style, as they are worn out and ugly, making Cupid seem to be a part of the mortal realm rather than ...
Cupid, along with his mother (Venus) and the nude putto, to the right, are all posed in a typical Mannerist figura serpentinata form. The two central figures are recognisable as Venus and Cupid. [1] For example, she holds the golden apple she won in the Judgement of Paris, [4] while he sports the characteristic wings and quiver. Both figures ...
Alternative view from side showing detail on Cupid's wings, Hermitage version. The sculptor was born in 1757 in Possagno, Italy, was raised by his stonemason paternal grandfather, Pasino Canova. [11] Venetian Senator Giovanni Falier was Canova's patron with great influence which started Canova's career. [11]
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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.