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Cupid and Psyche is a rich source for scenarios, and several artists have produced cycles of works based on it, including the frescoes at the Villa Farnesina (ca. 1518) by Raphael and his workshop; frescoes at Palazzo del Tè (1527–28) by Giulio Romano (painter)Giulio Romano; engravings by the "Master of the Die" (mid-16th century); and ...
Cupid and Psyche by Anthony van Dyck. Psyché is an opera (tragédie lyrique) in a prologue and five acts composed by Jean-Baptiste Lully to a libretto by Thomas Corneille [1] (adapted from Molière's original play for which Lully had composed the intermèdes).
The story of Psyche and Cupid is recounted by an old woman to a young girl kidnapped by brigands. Apuleius's version was far too ribald and overtly sexual for the 17th century stage, or even for the 17th century reader, and the story had been adapted to the morals of the time on several occasions.
Old Woman Telling the Tale of Psyche is a plaque in grisaille painted Limoges enamel by Martin Didier Pape, showing an old woman telling a young woman the story of Cupid and Psyche. It was made in the Limousin region around 1580, copying an engraving of the scene by the ' Master of the Die '.
The tale concerns the overcoming of obstacles to the love between Psyche and Cupid (also known as Eros), 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 name Psyche means "soul" in Greek [5] and was commonly referred to as such in Roman mythology as well, though the direct translation is Anima (Latin word for "soul"). [6] She was born a mortal woman and eventually granted immortality, with beauty that rivaled even Aphrodite , goddess of love. [ 7 ]
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The relationship depicted in this painting between Cupid and Psyche is inspired by the narrative of the Latin poet Apuleius in The Golden Ass, and was a subject that repeatedly inspired neoclassical painters, sculptors and writers of the late 18th and the early 19th centuries. The gestures of Eros, the god of love, remain measured, almost ...