Paintings

Description of Etienne Maurice Falcone's sculpture “Menacing Cupid”


At the personal request of the Marquise de Pompadour herself, the famous sculptor creates a small sculpture of the god of love Amur. The marble figure depicts a winged cute boy and was called the "Menacing Cupid".

Since the first exhibition, sculpture has become popular. At first, repeated figurines were executed by the author himself, and then numerous copies of her by unknown masters appeared, which only increased her popularity.

Since then, “Menacing Cupid” has become an integral part of the interior in the Rococo style, a kind of emblem. Falcone portrayed this omnipotent god in the form of a child. So he not only embodied the idea of ​​the eternal youth of the deity, but also gives the image of mystery and a little cunning. His cupid presses a finger to his lips, as if inviting to be silent about something. The mystery created in this way attracts those who look at the statue. They are trying to guess what a god who has power over other people's hearts may be silent.

Or maybe this gesture is intended only to distract attention from the true intentions of the boy. After all, his second hand is sneaking towards a quiver of arrows. Most likely, he noticed another goal and is ready to hit the heart with an arrow in order to kindle the fire of love.

But both gestures explain each other: love should be kept silent so as not to cause envy of those who did not know it, and no one knows when this feeling will overtake a person and who will become the chosen one of a heart struck by an arrow.

In order to know the true meaning of the sculpture, it will be necessary to go around, make out every detail and, comparing all its aspects together, put together an integral image of the sovereign of hearts. The perception of a person will also depend on the sequence of reading the features of the sculpture. Thus, Falcone plays with his audience, involving her in the world of art and beauty, where there is no single answer.

The sculpture is full of hints and discrepancies, which can be interpreted in different ways. Perhaps the sculptor hinted to Madame de Pompadour and her connection with the king, or simply warned that there were superfluous words in love. But all the same, the hints remain as light and graceful as the sculpture itself.





Oaks Shishkin

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