La Fillette Aux Canards 1881

Alfred Stevens captured this scene, likely in the late 19th century, with oil on canvas. The black duck is a fascinating emblem; in ancient cultures, such waterfowl were often seen as guides to the underworld, creatures navigating both the realms of light and darkness. We observe the duck, not in noble flight, but grounded, almost awkward—an inversion of its symbolic potential. Consider how this contrasts with ancient Egyptian art, where ducks symbolized protection and divine intervention. Stevens seems to deliberately subvert this tradition, presenting the duck as a mere mortal, earthbound and perhaps comical. The presence of the little girl in her pristine white dress further complicates our reading. She holds flowers, symbols of innocence and ephemeral beauty, yet the dark duck introduces a shadow, a hint of life's darker currents. This juxtaposition engages us on a subconscious level. The duck, once a sacred symbol, is now a plaything, its mystique diminished. Yet, its presence evokes the cyclical nature of symbols, their capacity to resurface, transform, and acquire new meanings across time.