Geboorte van Amor 1740

Editor: Here we have Louis Desplaces’s 1740 engraving, “Geboorte van Amor,” or “The Birth of Cupid.” It has a very classical, almost theatrical feel. What is your interpretation of this piece, and how does it fit within the artistic and social context of its time? Curator: Well, it's more than just classical, isn’t it? Consider the Baroque style—it’s born of social upheaval, religious conflict and, of course, monarchy. "The Birth of Cupid", we might argue, performs power. Cupid’s birth wasn't just about love, it was about solidifying social norms. It visually reinforces traditional power structures around family and legitimacy during a time of widespread inequality. Editor: So you’re saying it's not as innocent as it seems? Curator: Exactly. This artwork becomes an ideological tool. Note the very white, idealized bodies—this image participates in the historical erasure and oppression of other identities, specifically gender and race, by glorifying a singular, dominant standard of beauty and virtue. Who has access to this idyllic “love”? Editor: That’s… unsettling. It makes me see the work in a different light. What about the composition? How does that speak to the themes of power? Curator: Notice the strategic arrangement, which centralizes masculine power and celebrates the social implications. Look at who has agency, who is passive, and who is altogether excluded. The figures aren’t simply there; their presence tells us about the social hierarchy of 18th century Europe and how power was assigned and reinforced. Editor: This really encourages a deeper questioning of not just the aesthetics but the power dynamics embedded within these classical images. Curator: Precisely, and questioning what is ‘canon’ allows us to reconstruct the context of power dynamics with intersectional narratives that focus on identity, gender, race, and politics. It’s a birth announcement for a very specific version of love and power. Editor: I hadn’t thought about it that way. I appreciate you shining a light on these latent structures in this work.