PARIS, France — A comprehensive analysis of Western art history reveals that the transformation of the mythological figure of Cupid, known initially as the Greek deity Eros, provides a striking visual record of humanity’s evolving attitudes toward love, passion, and morality across nearly three millennia. From his origins as a powerful, primordial cosmic force in ancient Greece to his contemporary role as a commercialized sentimental mascot, the persistent adaptation of this winged figure reflects foundational shifts in cultural and divine understanding.
The saga of Cupid begins with Eros in Greek antiquity. While later classical accounts depict him as the son of Aphrodite and often Ares, early cosmological texts present Eros as an essential, primal deity emerging from Chaos, signifying the foundational drive for union and creation necessary for ordered existence. By the Classical period (5th–4th centuries BCE), Greek artists typically portrayed Eros as a beautiful, athletic adolescent, often equipped with a bow and arrows, symbolizing the sudden, unavoidable strike of romantic desire.
Roman Shift and Christian Ambivalence
When Greek mythology was absorbed by Roman culture, Eros became Cupid (from the Latin cupido, meaning desire). The Romans gradually softened his image, moving away from the handsome youth to increasingly feature a younger, more innocent, infant-like figure—a transformation that significantly influenced his later Western representation. This Roman phase also cemented his most famous narrative, the tragic and triumphant tale of Cupid and Psyche, preserved in Apuleius’s Metamorphoses.
The medieval period provided a challenging context for the pagan god. While Christian theology largely viewed carnal desire, which Cupid symbolized, with suspicion, the figure never fully vanished. He persisted allegorically in courtly love literature and illuminated manuscripts, often blindfolded to represent love’s irrationality, marking his transition into a durable literary and symbolic device.
Renaissance Revival and Baroque Drama
The Renaissance heralded Cupid’s powerful return to visual arts, driven by the era’s renewed fascination with classical antiquity. Artists like Sandro Botticelli deftly integrated the figure into works like Primavera, fusing classical mythology with Neoplatonic philosophy where love was seen as a divine force elevating the soul. The cherubic figure, or putto, derived from Hellenistic art, became the dominant visual identity.
The subsequent Baroque era embraced Cupid with characteristic passion and theatrical flair. Artists such as Caravaggio and Peter Paul Rubens emphasized love’s sensuality and overwhelming power. Caravaggio’s provocative Amor Victorious (1602), showing an earthy adolescent surrounded by symbols of human knowledge he has conquered, exemplified the Baroque assertion of love’s supremacy over all human endeavors.
From Rococo Play to Modern Commentary
The 18th-century Rococo style distilled Cupid into a purely decorative and playful element. French masters like François Boucher often placed him in aristocratic, pastoral settings, transforming the powerful deity into a mischievous, lightly erotic, and domesticated cherub, far removed from his initial cosmic seriousness.
A reaction emerged in the late 18th century with Neoclassicism, which sought restraint and idealized beauty. Antonio Canova’s iconic sculpture, Psyche Revived by Cupid’s Kiss (1787–1793), perfectly embodies this period, blending classical subject matter with technical perfection and noble sentiment.
In the 20th and 21st centuries, Cupid has largely exited the realm of high art as modern movements eschewed mythological subjects. The figure has been co-opted primarily for commercial purposes, becoming indelibly linked with Valentine’s Day imagery. However, contemporary artists occasionally reclaim him, using his enduring recognizability to offer critiques or ironical commentary on consumer culture and romantic clichés, such as in the work of street artist Banksy.
The consistent presence of core attributes—the bow and arrows symbolizing love’s inescapable nature, wings for swift arrival, and occasional usage of the blindfold—ensures Cupid’s immediate recognition across cultural boundaries. His journey from primordial deity to greeting card icon underscores his remarkable adaptability and testifies to the enduring human preoccupation with desire and affection.