Adolescent Love crying on the portrait of Psyche whom he has lost
1792

Oil on canvas
55-91
Bequeathed by Jean-Baptiste Colomb in 1893
H. 153 - L. 202 cm
This work dates from the time of the painter’s stay in Rome alongside Fabre and Girodet. It shows the young painter’s hesitation between the mythological gallantries of the 18th century and the neo-classical pathos. Rather than a kiss or an embrace, Meynier chooses the hero’s solitude and the pain of absence. He demonstrates his learning by borrowing all his vocabulary from Greek antiquity. The fantastical treatment of the landscape and the lighting herald the era of romanticism.
Adolescent Love crying on the portrait of Psyche whom he has lost
1792

Oil on canvas
55-91
Bequeathed by Jean-Baptiste Colomb in 1893
H. 153 - L. 202 cm
This work dates from the time of the painter’s stay in Rome alongside Fabre and Girodet. It shows the young painter’s hesitation between the mythological gallantries of the 18th century and the neo-classical pathos. Rather than a kiss or an embrace, Meynier chooses the hero’s solitude and the pain of absence. He demonstrates his learning by borrowing all his vocabulary from Greek antiquity. The fantastical treatment of the landscape and the lighting herald the era of romanticism.