Amor vertrekt op jacht c. 1741 - 1780

Editor: So, here we have "Amor vertrekt op jacht," or "Cupid departs for the hunt," a print from the late 18th century by L. Angélique Martinet. There's a strange sense of childishness combined with a darker, almost satirical, edge to it. What's your interpretation? Curator: Well, it's crucial to place this within the social and institutional context of 18th-century Europe. The Rococo style, often playful, also served specific power dynamics. Who do you think was the target audience? Editor: Probably the aristocracy? Something meant to be decorative and witty? Curator: Exactly. The figure of Cupid was used to soften political and social commentary. See how hunting, a leisure pursuit of the elite, is being comically appropriated by Cupid? It’s almost as if the artist critiques aristocratic leisure under the guise of entertainment. Do you notice anything about the public role that this piece takes on as a result? Editor: It's meant for enjoyment, yes, but it's not simple mindless decoration because it brings a certain form of judgement. Almost like, "Aren't the elite ridiculous?" Curator: Precisely. It makes one question the relationship between art, power, and the public's perception of those in power. What seems like frivolous entertainment could, in reality, challenge societal norms through satire, influencing the public and the court simultaneously. Editor: I see! The artist utilizes humor as a vehicle to both appeal to, and critique, the establishment. The politics of imagery become much clearer now. Curator: Right, the print highlights art as a cultural instrument used to address the values and follies within 18th-century European society. Editor: It changes my perception of the piece quite radically. Seeing how intertwined it all is - patronage, public role, socio-political statements, humour… It’s much richer than what I thought at first.