Kelken met puttihoofden 1775 - 1790

Jean François Forty created this print of chalices around 1775-1790 to display his designs for church silverware. The cups feature stylized putti heads, cherubic figures common in Renaissance and Baroque art, which evoke a sense of innocence, divine love, and spiritual mediation. These putti, derived from classical Cupid figures, appear in a myriad of contexts throughout art history. Originally symbols of pagan love, their adaptation into Christian iconography illustrates the transmutation of symbols over time, acquiring new layers of meaning while retaining echoes of their past. The putto, as a symbol, speaks to the human psyche's deep-seated need for comfort, protection, and connection to the divine. Forty’s chalices, adorned with these figures, serve not only as functional objects but as powerful emotional triggers, tapping into our collective memory and subconscious associations with purity and spiritual grace. This non-linear progression highlights the cyclical nature of symbols, constantly resurfacing and evolving across different epochs.