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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 ...
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.
Articles relating to Cupid and Psyche, a story originally from Metamorphoses (also called The Golden Ass), written in the 2nd century AD by Apuleius.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.
Till We Have Faces: A Myth Retold is a 1956 novel by C. S. Lewis.It is a retelling of Cupid and Psyche, based on its telling in a chapter of The Golden Ass of Apuleius.This story had haunted Lewis all his life, because he believed that some of the main characters' actions were illogical. [1]
The story of Cupid and Psyche appears in Greek art as early as the 4th century BC, but the most extended literary source of the tale is the Latin novel Metamorphoses, also known as The Golden Ass, by Apuleius (2nd century AD). It concerns the overcoming of obstacles to the love between Psyche ("Soul" or "Breath of Life") and Cupid, and their ...
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 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 ...
In Tighe's version, Cupid is as much a victim of himself as Psyche is, and she makes explicit that her feelings are mutual. In a major departure from Apuleius’ storyline, Cupid accompanies Psyche on her series of trials, disguised as a white knight on his own journey to regain his beloved. This unique element of Tighe's narrative serves to ...
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