Cupid Disguised as a Shepherd Boy at The Walker Art Gallery, United Kingdom

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John Gibson's "Cupid Disguised as a Shepherd" showcases artistic reproduction within the sculptor's studio. This iconic work was commissioned in marble by at least nine patrons, with each version uniquely showcasing the artist's skill and creativity. Gibson began working on this piece around 1830, crafting a new interpretation of the god of love that blended classical and Renaissance influences. The statue exudes sentimentality and theatricality as Cupid wears a disguise to hide his identity. The figure was inspired by Torquato Tasso's pastoral comedy Aminta (1573), where Cupid disguises himself as a shepherd to play with the hearts of nymph Silvia and youth Aminta. In Gibson's memoirs, he recorded an Italian passage from the poem: "Who would believe that under human form, and beneath these pastoral spoils, lies hidden a god? And not one of the Sylvan Deities or vulgar gods, but among the superior and heavenly ones, the most powerful." This quote highlights Cupid's divine nature, even in disguise. Dressed in a shepherd's hat and cloak, Cupid wears a kind grin that conceals his precocious nature. A drawing suggests that Gibson initially wanted to depict the figure in motion, shooting an arrow and rushing to hide his bow and quiver. However, he chose instead to portray him upright and still, focusing on idealized beauty. Each repetition measures approximately 51 inches, making Cupid appear as a young adolescent. He hides his 'heart-piercing dart' and bow behind his back, with the bottom portion of the bow resting against his calf. Four of the known repetitions show his right hand reaching outward, fingers slightly curved as if to take someone's hand, inspiring confidence while concealing cunning designs. However, in two earlier versions, Cupid is depicted holding a rose in his right hand, possibly enhancing his flirtatious nature. No documentation explains this change in the outstretched hand. This statue has been reproduced multiple times, with nine known marble repetitions and four reductions, all showcasing Gibson's design and skill. A fifth version was commissioned by Richard Alison, a merchant from Woolton Hayes near Liverpool, in the early 1840s. Inscribed "GIBSON FECIT ROMAE" on the top of the tree stump, this repetition is now part of the National Museums Liverpool collection. The multiple forms of this statue demonstrate its popularity and enduring appeal. The reproduction and international marketing of this statue did not lessen its perceived quality or create a sense that later repetitions were less important than the first. This was because it was Gibson's design that appealed to his patrons, enabling him to create numerous versions of a popular subject.