Cupid and devil in a group 1760 - 1770

Curator: Ah, another fascinating piece from the Met's collection! This is a porcelain sculpture from the Chelsea Porcelain Manufactory, titled "Cupid and devil in a group," dating from around 1760 to 1770. It's a surprisingly small, intricate figural group. Editor: Oh, wow. My first thought is that it looks like somebody’s steamy dream distilled into fragile porcelain. A playful dance with, shall we say, questionable power dynamics? Curator: Questionable is putting it lightly. This little figurine encapsulates a multitude of complex societal issues prevalent in the Rococo period. The juxtaposition of Cupid, representing love, with a Black figure, rendered as "the Devil," brings to the forefront questions about colonialism, race, and the eroticization of the "other." Editor: Exactly! It’s gorgeous in a disquieting way. The craftsmanship is astounding; look at the details in Cupid’s face, the wilting rose. The positioning of the Black figure literally supports and confines cupid— but that is a troubling dynamic…I’m wondering about whose fantasies were given form. Curator: It's important to recognize the legacy of such representation. In its time, it would have served to perpetuate racist stereotypes, casting the Black figure as subservient and inherently linked with negativity. But nowadays, we also should challenge any simplistic notion that such artworks are devoid of artistic value. It serves as an opportunity to examine that historical baggage. Editor: Absolutely. The erotic undertones add another layer of complexity. Are we meant to see a genuine interaction here, or simply the reinforcement of power structures made physical? I see more ambiguity than I am comfortable with, so there is an invitation to think more carefully and critically about its themes. Curator: Precisely. And that discomfort is key to unlocking its continued relevance. We aren't just looking at a charming porcelain figurine. We are facing a challenge to critically examine historical context while acknowledging the problematic narratives that underpin it. Editor: So true. This piece is definitely not just some cute bit of decor. More like a concentrated, and somewhat naughty, social commentary squeezed into porcelain. Makes you wonder about all the silent conversations objects carry through history.