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Cushion : The Marriage of Cupid and Psyche, published by Hannah Humphrey in 1797 (etching)
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The Marriage of Cupid and Psyche, published by Hannah Humphrey in 1797 (etching)
NCO189743 The Marriage of Cupid and Psyche, published by Hannah Humphrey in 1797 (etching) by Gillray, James (1757-1815); 26x36.5 cm; Courtesy of the Warden and Scholars of New College, Oxford; (add.info.: Psyche is the actress, Elizabeth Farren (c.1759-1829); Cupid is Edward Smith-Stanley (1752-1834) 12th Earl of Derby; parody of the famous Marlborough Gem cameo; ); English, out of copyright
Media ID 23354924
© Bridgeman Images
Commemoration Hanoverian Monochrome Pot Belly Skinny Social Satire Veil Wizened
Cushion
Refresh your home decor with a beautiful full photo 16"x16" (40x40cm) cushion, complete with cushion pad insert. Printed on both sides and made from 100% polyester with a zipper on the bottom back edge of the cushion cover. Care Instructions: Warm machine wash, do not bleach, do not tumble dry. Warm iron inside out. Do not dry clean.
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Estimated Product Size is 40cm x 40cm (15.7" x 15.7")
These are individually made so all sizes are approximate
Artwork printed orientated as per the preview above, with landscape (horizontal) or portrait (vertical) orientation to match the source image.
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EDITORS COMMENTS
This etching, "The Marriage of Cupid and Psyche" published by Hannah Humphrey in 1797, is a remarkable piece of art that combines elements of social satire and classical mythology. The print depicts the marriage ceremony between Cupid and Psyche, with an interesting twist. In this parody, Psyche is portrayed by the renowned actress Elizabeth Farren, while Cupid is none other than Edward Smith-Stanley, the 12th Earl of Derby. This clever choice adds a touch of humor to the artwork as it mimics the famous Marlborough Gem cameo. The composition showcases various symbolic details that add depth to its narrative. A torch representing Hymen's flame has been extinguished, perhaps alluding to challenges faced within relationships or satirizing societal expectations surrounding marriage. Both characters are depicted in contrasting physical forms - Psyche with her wizened crown and pot belly while Cupid appears skinny. These exaggerated features serve as caricatures reflecting contemporary ideals of beauty during the Georgian era. A procession surrounds them in commemoration of their union; however, it also serves as a platform for social commentary through Gillray's masterful use of satire. The monochrome palette enhances the dramatic effect while emphasizing intricate details such as bird motifs on veils and putti symbolizing love. Overall, this etching stands as an exceptional example of Hanoverian-era artistry infused with wit and symbolism. It captures both nudity and nakedness metaphorically rather than explicitly showcasing human
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