Emile BOISSEAU (1842-1923). Chained love

Carrara marble sculpture, signed "E. Boisseau"
Circa 1891


Description
Our sculpture, made of white Carrara marble, depicts an allegorical scene featuring Venus and her son Eros.

Venus, delicately leaning toward Eros, has one arm raised in an arc above her head, lending an effect of lightness and fluidity to the whole. Her other hand is extended toward her son, suggesting a nurturing gesture, while her gentle, almost enigmatic smile exudes serenity and natural grace.
Eros appears to be interacting with his mother, looking at her. His posture evokes childlike innocence and curiosity. His hands are tied to a tree trunk with a ribbon.
The sculpture rests on a round "sea green" marble base, which contrasts with the whiteness of the Carrara marble while enhancing the composition.

The depiction of Eros in chains is an interesting motif that can be interpreted symbolically in the context of his relationship with Venus, to whom he is both her son and servant:
Following the myth of Psyche, Venus orders Eros to make Psyche fall in love with a monster as revenge, but Eros disobeys by falling in love with her himself. Eros, despite being the god of love, is trapped by his own feelings. He becomes a prisoner of his love for Psyche, which leads him to defy Venus's authority and suffer the consequences of this passion. He is "chained" by the intensity of his emotions. These chains symbolize the complexity of romantic relationships, where desire can captivate even the most powerful forces. Eros, although he embodies the freedom of desire, is himself bound to the wills of others and passions he cannot avoid. Eros leans against the central figure, creating a captivating interaction that draws the viewer's eye. He is depicted realistically, with meticulous anatomical details, notably the curve of his limbs and the roundness of his belly, characteristic of the art of depicting childhood in classical sculpture.
The female figure's hand appears to be holding the ribbon with which Eros is tied to a tree trunk, as if trying to free him, adding a protective and maternal aspect to the work. This emphasizes the complicity between the two figures and perhaps symbolizes divine protection or unconditional love.

This work exhibits characteristics specific to academic sculptures, where the idealization of bodies and respect for classical proportions are paramount. The details of the face, hair, and delicately sculpted muscles demonstrate a great attention to realism, characteristic of the work of sculptor Emile Boisseau. The precision of the details and the ability to convey emotion through expression demonstrate great mastery. Boisseau skillfully crafted the details of the eyes, lips, and cheekbones to create a delicate realism. The hair is richly crafted, adorned with delicately sculpted flowers, which add a touch of romanticism and reinforce the divine aspect of the figure. The locks are slightly wavy, falling fluidly, testifying to the sculptor's technical expertise. The surface polish is smooth and impeccable, giving the stone the appearance of soft, luminous skin. The sculptor used polishing techniques that highlight the marble's natural translucency, creating an impression of vitality and warmth.




Biography Émile André BOISSEAU (1842-1923)
He exhibited regularly at the Paris Salon from 1868 onward, after studying sculpture at the École des Beaux-Arts under Dumont and Bonnassieux. He was particularly fond of carving marble, which he readily combined with bronze and even onyx. Among his contributions are Chained Love (1891) and Twilight, a marble group from 1883.
In 1882, he sculpted a statue of Beaumarchais for the façade of Paris City Hall. A marble version of his Defense of the Hearth (1884) was acquired by the City of Paris, which erected it in the Champ-de-Mars square.
In 1888, he was appointed director of the Romain Rolland Museum of Art and History in Clamecy. He donated several of his sculptures to the institution.
Vice-president of the Society of French Artists, president of the Artistic Property Union, and an officer of the Legion of Honor since 1900, Émile Boisseau died on February 17, 1923, in his Parisian mansion.