Twee vazen, de grootste met een basspelend jongetje c. 1870 - 1894

Gustave Joseph Chéret made these vase designs, one with a boy playing bass. Observe the cherubic figure; it resonates with the ancient motif of Eros, the god of love, often depicted as a winged child. In classical antiquity, these figures symbolized desire and playfulness. But here, the child is engrossed in music, a shift from mere sensual pursuits to a more refined form of expression. This transformation reminds me of the recurring theme of "Amor Vincit Omnia"—love conquers all—a phrase that has seen countless iterations from Caravaggio to modern cinema. This symbol has undergone a metamorphosis from pagan sensuality to Christian spiritual love, and here, Chéret presents a secular emblem of joy. The emotion embedded in this image serves as a powerful force engaging viewers on a deep, subconscious level. The enduring recurrence of cherubic figures reflects our ongoing fascination with innocence and the power of love. The symbol is not static; its meaning evolves in each artistic and historical context.