Cupid on crutches 1760 - 1770

Curator: Here we have "Cupid on crutches," a porcelain sculpture crafted by the Chelsea Porcelain Manufactory, dating back to 1760-1770. It resides here at the Metropolitan Museum of Art. Editor: Well, the first thing that strikes me is the oddity of it. Cupid, that icon of youthful exuberance, hobbled? The floral details soften the visual blow a bit. Curator: Indeed. Cupid, the Roman god of love, typically depicted as a winged cherub, is here presented in a state of vulnerability, leaning on crutches. The "Amour ici blesse," or "Love wounded here" sash tells it all. Consider the psychological implications; does love always come with injury? Editor: It certainly does seem that the creators are consciously playing with the common understanding of love. Also, looking at this figurine, one starts wondering about its intended function in society and the processes that brought it to being. Who had the resources and taste for this? How were such precise details, especially in the floral embellishments, achieved with porcelain? Curator: Chelsea Porcelain, known for its elaborate Rococo style, caters to the taste of the elite, emphasizing refined beauty. In that light, even the imperfection can be considered performative. The sculpture serves as a conversation piece, reminding of love's painful aspects. But that flower detail behind him! Is that covering an old wound? What happens when you elevate craft to high art through the medium? Editor: I see your point. There's also the element of labor involved. Such a piece, given its time, reflects not just the artistry but also the socio-economic structure that allowed its creation, from sourcing materials to specialized artisans executing it. That porcelain— what type of clay they had to extract to be fired so meticulously. That sash seems to indicate, also, an ability to write, but using it more as decorative feature instead of literature, which seems strange considering its importance in the grand scheme. Curator: I appreciate that reading. Porcelain itself becomes a signifier, moving beyond its materiality to represent status and aspiration. Editor: Right, but also what its impact could have been in social gatherings. And who might that affect! It’s not just a pretty thing. Thanks for helping me unpack the material dimensions. Curator: The symbolism interwoven with the material realities provides us a fuller understanding. A poignant object, even if somewhat contradictory.