Putto 

Here, Gabriel von Max presents us with a scene populated by putti, those plump, winged infants so beloved in Western art. These figures aren't mere decoration; they are potent symbols. Rooted in classical antiquity as representations of Eros, or Cupid, they were reborn in the Renaissance as cherubs, divine messengers, infusing secular spaces with spiritual resonance. Note how they cluster together, their playful gestures echoing motifs found in ancient Roman friezes and later, in Baroque ceilings. Consider, for instance, how Leonardo da Vinci's angels share a similar ethereal quality, yet these putti lack the same spiritual weight. They are lighter, more decorative. This evolution reflects a shift in cultural values. Perhaps von Max is tapping into our collective memory, stirring subconscious desires for innocence and purity. The cyclical nature of symbols is evident. From pagan cupids to Christian cherubs and now, these decorative putti. The enduring appeal of these figures reminds us that images carry emotional and cultural baggage, constantly evolving and resurfacing in new contexts.