Winged Infant Riding a Crouching Horse 1490 - 1546

Editor: This is Giulio Romano’s “Winged Infant Riding a Crouching Horse,” dating from sometime between 1490 and 1546. It’s a delicate drawing, seemingly rendered in pencil. It has this immediate feeling of lightness and whimsicality... How do you interpret the symbolism in a piece like this? Curator: What immediately strikes me is how Romano uses classical imagery, particularly the winged infant which strongly echoes Cupid or Eros, and re-interprets it through a Renaissance lens. The crouching horse, though, is quite unusual. It’s not a typical triumphant steed. It brings to mind a subverted power dynamic, perhaps the passions – the horse – being temporarily subdued or guided by innocence – the child. Do you find that contrast interesting? Editor: Yes, definitely! I was expecting the horse to be this symbol of raw power, but its crouched position feels almost… vulnerable. Curator: Exactly! It reflects a broader theme in Renaissance art: the taming and rationalizing of classical exuberance. The Cupid figure also represents an untamed and erratic emotional state – primal urges or passions. Think about the cultural associations with horses – power, virility, instinct. Editor: So the artist might be commenting on the Renaissance’s attempt to control and refine even our basic instincts? Curator: Precisely. Consider, too, that in Renaissance emblem books, winged figures often symbolized inspiration. Combining that with a horse, typically symbolic of nobility or earthly power, suggests a transient and complicated harmony between aspiration and base instinct. How does knowing this influence your interpretation? Editor: I see now how rich a simple sketch can be! It’s more than just a cute kid on a horse; it’s a whole meditation on control, passion, and inspiration. Curator: Indeed. A small image holding multitudes of meaning – that’s often the most rewarding art, isn't it?