Struck by Cupid’s arrow: Exploring love and symbolism in art

Every masterpiece begins with inspiration and for centuries, love has been at the heart of it. Today, we explore how love has been depicted in some of the most famous works of art. 

Il bacio, Francesco Hayez (1859)

Beneath what appears to be a streetlamp, a man and a woman embrace, sharing an intense moment that seems to silence the world around them. At first glance, Il bacio (The Kiss) is a simple yet passionate encounter between two lovers, beautifully captured in oil by Hayez. However, a closer look at the painting will reveal that there is more than what meets the eye. Instead, it is a thrilling (and rather political) romantic affair between two states. 

Italian Romanticism is defined by its emphasis on emotion, nature, and individualism, elements that are often linked to the Risorgimento. The painting, commissioned by Count Alfonso, is a tribute to the alliance between France and Italy. The kiss: a symbol of the 19th-century unification of Italy. The man in the painting, fiercely gripping the woman’s face, is draped in a green and red cloak, representing the Italian flag, while the woman in his grasp wears blue and white garments, symbolising the colours of the French flag. 

In this way, Hayez transforms a simple romantic moment into a powerful symbol of the political alliance between France and Italy, merging love and nationalism in a stunning portrayal of the Risorgimento. 

The Lovers, Rene Magritte (1928)

Following his mother’s suicide, Magritte pursued fine arts in Brussels, immersing himself in Cubist, Futurist, and Dada movements, all while displaying a mocking and rebellious disposition in the early 1920s. It is no surprise that Surrealism became the art form that most aligned with his vision. 

As such, The Lovers by Magritte immediately evokes both frustration and intrigue. On one hand, the thick white cloth draped over the heads of the two lovers obstructs their intimacy, creating a sense of suffocation when viewing the surrealist painting. At the same time, it evokes a sense of mystery that remains elusive and difficult to decipher. 

“It does not mean anything, because mystery means nothing either, it is unknowable,” says Magritte, when asked about the meaning of the painting.  

Perhaps it is a metaphorical and visual representation of what love truly means. Though it is a simple word, it defies a single, one-size-fits-all definition. Instead, it is a mystery – an experience without a universal manual, “anything… nothing… unknowable.” Like The Lovers, love can be both an infuriating and exciting endeavour. 

Morti di Paolo e Francesca, Gaetano Previati (1887)

“These violent delights have violent ends, And in their triumph die; like fire and powder…” (Romeo and Juliet Act 2, Scene 6) 

If you are familiar with Shakespeare’s Romeo and Juliet, you will certainly appreciate Previatis’ rendition of Paolo and Francesca. Like the romantic tragedy, the painting depicts two lovers subjected to death as a consequence. The story follows two adulterous lovers, murdered at the hand of the woman’s husband (and lover’s brother), damned to burn in Dante’s Inferno of lust and consequence. 

In the Romantic painting, the lovers lie slain, their bodies entwined in a lifeless embrace, a sword pinning them together. Previati notably employs dark shades of red, evoking violence, while the black and blue crystallise the profound melancholy of the scene. Here, love is depicted as an all-consuming force that transcends moral obligation, leading to destruction. 

For years, artists have sought to understand and express the essence of love, experimenting with various methods to visually represent its complexities. These explorations often intersect, covering similar themes, ultimately reaching the same conclusion: love is multifaceted and obscure.