This virtual gallery overviews the mythical love fiasco that became the life of Psyche, the goddess of the soul, in paint, texture, and sculpture.
The Bath of Psyche, Frederic Lord, Leighton, 1890, From the collection of: Tate Britain
Psyche was not always, the goddess of the soul. She began life as a mere mortal like every other being born to earth. She was the daughter of a king and the youngest of three daughters. But, Psyche was different. Psyche had exceptional beauty.
Tate's oil painting introduces Psyche to this story. He emphasizes the white robe Psyche is seen holding to focus all attention to her naked body. The darker tones of the surrounding palace plays into this design, as well.
The Father of Psyche Consulting the Oracle of Apollo, Baron François-Pascal-Simon Gérard, about 1796, From the collection of: The J. Paul Getty Museum
Psyche's two sisters were the wives. She remained, not. Trying to understand why, her father goes to the Oracle in an attempt to learn of his daughter's fate. Just as the horrible news that she would love a grossly, hideous beast was being spoken, Psyche enter's the room and faints into her mother's arms.
This drawing of gray and brown ink is combined with white, gray, and brown wash with and back drop of black chalk. The asymmetric piece is full of detail, filling a small, slightly larger than, 7 inch by 5 inch frame.
Psyche Worshipped as the Personification of Beauty, Andrea Appiani, 1792/1792, From the collection of: Fondazione Cariplo
Psyche was an ordinary human being. However, she carried the beauty of a goddess. Therefore, the people honored and adored her, as such!
Asymmetrical balance spreads the artwork to each end of the paper using a combination of watercolor, paint, and ink. Appiani added a touch of the movement principle, which proved key to bring the portrait to life.
Venus represented a goddess of many aspects including desire, fertility, wealth, sex, and beauty. There was one aspect, though, she feared was slowly becoming the epitome of a certain Psych. Venus became so overwhelmed with envy that she convinced her son Cupid, the god of love, to mind his mother’s vengeance.
This 41cm by 27cm drawing is of “black and red chalk with brown wash”. The boarders of the drawing proportion the art and movement is shown throw the actions performed, as well as, the ‘wind’ in the scarf. These two key principles of design and composition that was used to complete this piece.
Edward Burne-Jones, Cupid finding Psyche, a watercolour, 1866/1866, From the collection of: British Museum
Cupid pricked himself with his arrow so that any being to see him would desire him. He found Psyche unconscious. Upon seeing her, there was no way he could carry out his mother’s plan. Cupid whisked her off and to a lavish living.
The drawing is a technique of unity with color and emphasis. The dark bold colors come together, shaping the picture to first focus on Psyche and then to the towering Cupid.
The Toilette of Psyche from The Story of Psyche tapestry series, François Boucher, Nicolas Besnier, Jean-Baptiste Oudry, Beauvais Manufactory, 1741–1742, From the collection of: The J. Paul Getty Museum
This textured art of “wool, silk, and modern cotton lining” is an embroidery depicting Psyche being pampered possibly for the “first night” with her new love, Cupid. The tapestry hangs a remarkable 132 long inches and 105 inches wide, displaying stunning variety of detail. Attention is brought to the bright red and gold coloring of features to elaborate the treasures of Psyche’s surroundings.
Cupid and Psyche, Giuseppe Maria Crespi Crespi, 1707 - 1709, From the collection of: Uffizi Gallery
Although, Psyche remained on the premises, Cupid could only visit in darkness, as to appease the situation not being looked upon. Cupid’s sisters, motivated by jealousy of Psyche’s status, convinced her to look at her love a see his vile truth. This oil on canvas painting portrays color contrasting the movement of Psyche accidentally burning Cupid with hot candle wax after falling in love with the beautiful being she saw.
Amor and Psyche, Johan Tobias Sergel, 1787, From the collection of: Nationalmuseum Sweden
Cupid is immediately angered and his trust is broken by what Psyche has done. Terribly wounded, Cupid rejects Psyche, as illustrated in the 1590 centimeter sculpted, marble statue, and flees to have his wounds from the candle to be nurtured by his mother, Venus.
The asymmetric balance of movement is obvious principle of design used here as the detail aim to show Cupid's present emotion of the pleading Psyche.
Psyche Asking Proserpine for Her Box of Beauty, Andrea Appiani, 1792/1792, From the collection of: Fondazione Cariplo
Appiani put together again ink, paint and watercolor on paper to create yet another chapter of this story. The 33cm by 22 cm describes the third attempt of Venus' annihilation of Psyche. Sent to the underworld to retrieve the 'Box of Beauty' from Goddess Proserpine, Psyche is granted the request. The picture balances out perfectly with the powerful Proserpine above and the humbled Psyche kneeling.
Psyche, Pietro Tenerani (1789, Carrara–1869, Rome), Mid-19th century, From the collection of: The Art Museum RIGA BOURSE
Inquisitiveness gets the best of Psyche, in wanting to enhance her own beauty that she opened the box. Resultantly, She falls into a deep sleep.
This totally three dimensional textured sculpture uses asymmetry and unity to define the 108 long, 112 tall, and 66cm wide figurine.
Mercury and Psyche, Caspar Gras, 1630–1640, From the collection of: Museum of Fine Arts, Budapest
This sculpture is portrays the God, Mercury, having pity on Psyche (as did every other God whom she encountered during this entire situation) being taken to Olympus and an assembly of Gods to be granted marriage to Cupid. She was found by her love and awaken from her sleep and granted immortality in order to be made his equal.
The movement in this piece defines the strength and power of the god and balances out with fully.
The Wedding Feast of Cupid and Psyche, François Perrier after Raphael, c. 1635, From the collection of: National Gallery of Art, Washington DC
This printed version of the "etching with engraving on laid paper" illustrates a very happy conclusion for Pysche as she is shown nestled in the lap of her now, true husband, Cupid, with all of the other approving Gods in attendance. This includes the scolded Venus, shown dancing and entertaining.
Definitely, variety and movements adorn this page as the entire page is filled and every character is in the act of some gesture. Finally, a combination of different types of symmetry balances the picture form completion.
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