Eros/Cupid
Sir Edward Burne Jones, Cupid and Psyche, 1865-67 Manchester Art Gallery, UK, Cupid finding Psyche asleep
Uthaylah Al-Arab
In Edward Burne-Jones' painting Cupid and Psyche, the classical Greek myth of Cupid and Psyche is vividly brought to life. At the center of the composition, Psyche's slumbering form is rendered with an almost ethereal grace, her delicate features illuminated by the warm glow of the oil lamp beside her. Hovering above her in a posture of tender contemplation is the youthful, androgynous figure of Cupid, the god of love whose own affections have become entwined with this mortal woman. Burne-Jones' painting is itself a masterwork of oil painting artistry. Through his meticulous attention to detail and rich yet gentler palette, the Pre-Raphaelite painter has drawn a dreamlike painting of his own, one that both captures the timeless essence of the Cupid and Psyche myth and offers a singular artistic perspective on this enduring tale of love, betrayal, and the triumph of the human spirit.
The myth of Cupid and Psyche, as recorded in Apuleius' second-century work The Golden Ass, has captivated audiences for millennia with its timeless tale of love, loss, and the triumph of the human spirit. At the heart of this classical narrative lies the love story between Cupid, the god of love, and Psyche, a mortal woman of exceptional beauty. Psyche's envious sisters, driven by jealousy, convince her to betray Cupid's trust, leading to a series of trials and tribulations that test the depth of their love (Morford et al. 216-218). Throughout the myth, Cupid and Psyche's relationship is imbued with a sense of both the divine and the human, as the immortal god falls for the mortal woman, and Psyche must undertake a perilous journey to win back Cupid's affection.
Burne-Jones' painting masterfully captures a pivotal moment from this classic myth - the scene in which Cupid discovers Psyche asleep after she has unwittingly followed his sisters' treacherous advice. Psyche's delicate, slumbering form is rendered with an almost ethereal quality, her skin glowing against the lush, verdant foliage that surrounds her. Cupid, meanwhile, hovers above her, his youthful, androgynous features convey a sense of both tenderness and power. The painting's composition further heightens the sense of mystery and emotional resonance of the artist as it “…replaces medieval intertidal with a trance-like state…” (Walters and Nahum 15). By situating his depiction of this pivotal narrative moment within a lush, verdant setting, it invites the viewer to become immersed in the mythic world, to feel the weight of Psyche's fateful slumber and the tenderness of Cupid's gaze. Burne-Jones' Psyche becomes a mirror image of the artist himself, a reflection of “ [the] sadness that envelopes his maidens simplifies the stillness” (Walters and Nahum 15) . Through this meticulously crafted composition, Burne-Jones weaves his own story into the monumental tapestry of classical myth, depicting a deeply personal interpretation that speaks to the enduring power of these timeless narratives.
Burne-Jones’ portrayal differs from ancient Greek art of Cupid (Eros) and Psyche in which the painting reflects the Romantic aesthetic of the late 19th century, with its focus on emotion, idealized figures, and attention to detail. The original myth has a more straightforward narrative structure where Cupid finds Psyche in the underworld after opening the box which contained deathlike sleep. During this brief meeting, Cupid is depicted as “…[flying] to Psyche’s rescue.” (Morford et al. 218). So, he must be worried about her. On the other hand, Burne-Jones' work emphasizes the poetic and atmospheric qualities of the story. In addition, Burne-Jones` interpretation of the myth is more symbolic and allegorical, with a greater emphasis on the themes of love, beauty, and the human soul. According to Wildman: “The moment illustrated in Cupid Delivering Psyche is treated by Burne -Jones more in the manner of the romantic Pre-Raphaelitism of earlier water-colours.” (Wildman et al. 119) Burne-Jones' painting is characterized by its intricate, almost tapestry-like composition, with a strong sense of symmetry and balance. The original myth does not focus on visual elements to the same degree, as it is primarily a literary work. The figures in Burne-Jones' painting are highly idealized, with an emphasis on graceful poses and delicate features. This is in contrast to the more naturalistic depictions of the characters in the original myth.
Works Cited
Morford, Mark, et al. Classical Mythology. 12th ed., Oxford UP, 2023.
Walters, William, and Peter Nahum. Past and Present: Edward Burne-Jones, His Medieval Sources and Their Relevance to His Personal Journey., 2009, https://eb-j.org/pdfViewer/articles/MzAyMQ==.
Wildman, Stephen, et al. Edward Burne-Jones, Victorian Artist-Dreamer. The Metropolitan Museum of Art, 1998.