Amor vermomd c. 1803 - 1868

Editor: Here we have "Amor vermomd" which translates to "Love Disguised," a plaster sculpture by Louis Royer, dating from around 1803 to 1868. It’s currently held at the Rijksmuseum. I’m struck by the delicate drapery and how it almost completely conceals the figure. What are your thoughts on the form and structure here? Curator: The interplay of light and shadow across the drapery is crucial. Note how the folds are not merely decorative but actively sculpt the figure's perceived volume. Royer uses the texture of the plaster to create nuanced gradations, enhancing the sense of three-dimensionality. Do you observe how the artist manipulates classical form? Editor: Yes, the idealized figure seems directly influenced by classical sculpture. The contrapposto stance is subtle, but definitely there. Is the heavy drapery a departure from traditional Neoclassical ideals, though? It feels almost... baroque in its fullness. Curator: It's a nuanced observation. While the figure adheres to neoclassical ideals in its form, the *weight* of the drapery, its near concealment of the figure, introduces a tension. It draws the eye around the composition. Note also the ambiguous expression; the concealed figure provokes intrigue by obscuring full clarity. What purpose do you feel that concealment provides, when love is supposedly the topic of representation? Editor: Maybe it suggests that love is not always straightforward? It’s disguised, hidden… This makes me think about love as more of a concept, maybe? It certainly emphasizes a shift from surface appearance. Curator: Indeed. By strategically obscuring elements, Royer prompts a more profound engagement with the subject. Now, do you notice the wings, or rather, *one* wing? Why depict only a partial attribute? Editor: Hmmm. Is it another sign of disguise, incomplete, love being a surprise maybe? The wing that's obscured is key to the entire concept, really. Thank you. I hadn't thought about it this way before!