Amorino holding a pole 1774

Editor: This is "Amorino holding a pole," an engraving from 1774. It's currently at the Metropolitan Museum of Art. The artist is Violante Vanni. I'm struck by how… resolute the cherub appears, almost serious. It's quite a weighty pose for such a traditionally lighthearted figure. What do you see in this piece? Curator: I'm drawn to the pole itself, aren’t you? What does that elongated, rather rigid object signify? Historically, poles or staffs are badges of office or sovereignty, which might suggest that Love isn’t simply whimsical but an ordered power, part of the establishment. Do you agree with that interpretation? Editor: Interesting! I'd never considered love as something related to the establishment, that goes against common belief. Does that align with the Neoclassical movement this work is associated with? Curator: Precisely. Neoclassicism looked back to the order and perceived rationality of the classical world, in reaction to the more decorative Rococo. The single figure on a geometric plinth also speaks to classical statuary. Perhaps, Amor--or Eros, Cupid--is leading us toward some higher moral plane? Look at the latin phrase "ducit exempli via," perhaps Vanni want us to explore this message? What do you think that higher plane might be? Editor: Hmm, maybe a more reasoned and structured understanding of love? Away from passionate impulse. That actually makes a lot of sense, now that I think about the time period. Curator: Yes, and in a way the work echoes through the ages – still resonating and offering a nuanced perspective on enduring human themes. A cultural memory, if you will. Editor: I never considered how classical themes of structure, order, and love, were reimagined. Looking at Cupid and seeing something entirely different now. Curator: Precisely the point! We continue to learn from it.