Psyche1.0251_CanovaHamilton

Hugh Douglas Hamilton, "Antonio Canova in his studio with Henry Tresham and a plaster model for Cupid and Psyche", 1788-1791?, pastel on paper, Victoria and Albert Museum, London, Prints & Drawings Study Room, Level E, Case EXP.

cf. ML p. 212-15

"The scene shows Canova in his studio, mallet in hand, in conversation with Hamilton's fellow Irishman, the painter and art dealer Henry Tresham (1751-1841), later to become Professor of Painting at the Royal Academy." The depiction is also remarkable for Cupid's lack of wings, features that project prominently in the final sculpture owned now by the Louvre (=Psyche1.0251_Canova).

L. Vertova, "Cupid and Psyche in Renaissance Painting before Raphael," JWCI 42 (1979), 104-21.

Working on commission of Prince Yusupov of St Petersburg, Canova seems inclined to make the marble come alive. The heavenly, swirling embrace is Canova's particular invention. Narrative Gain: satisfy the commission and bridge to other work.