Trois Amours dont un tient un couronne, de Quatrième Livre de Groupes d'Enfans 1720 - 1760

Pierre Alexandre Aveline's print presents three amorous cherubs, one bearing a crown of laurel, made in France in the mid-18th century. The laurel wreath is prominent, an ancient symbol of triumph, here bestowed by Cupid, or Eros, the god of love. The motif of Cupid is not confined to antiquity; we see its recurrence throughout the Renaissance and Baroque periods, often intertwined with themes of love, desire, and even the capriciousness of fate. These cherubic figures are never far from the human psyche. The collective memory of love, in all its forms, keeps Cupid alive in our art. Consider how the image of Cupid evolved, from the divine figure of classical sculpture to the playful cherub of Renaissance painting, its appearance and symbolic significance morphing through time, yet always tethered to the primal emotions. The non-linear progression of symbols reveals their emotional and psychological power, engaging viewers on a deep, subconscious level.