The tender romance of Cupid and Psyche is the central theme of this fragile Meissen “Temple of Love” also called Temple of Honour, conceived in the gay rococo spirit of eighteenth-century Europe. Behind the lovers, Venus rides her peacock on swirling clouds while cherubic putti above the flowered columns represents the seasons and those below bear decorative shields.
The forty-six inch high centerpiece was designed by Johann Joachim Kaendler ( sometimes spelled as Kandler) in 1750 and is now in the porcelain collection in Frankfurt. Looking over his work, there is a strong Greek motif, a certain element of Albrecht Durer and recurring strain of Italian Comedie in the style and spirit of Watteau. Also, some of it sort of kitschy Mannerist styles that lent itself to cheaper reproductions.
The development of the porcelain sculpture and the repertoire of objects produced by Johann Joachim Kaendler (1706-1775) translated Höroldt‟s painted world into a sculptural reality. Kaendler had already been appointed court sculptor when he was summoned to the porcelain works in 1731 to help create the birds and animal figures commissioned by Augustus for the Japanese Palace. He stayed until his death, producing an outstanding oeuvre of work in his forty-four years at the manufactory, that in quality and subject range is unequalled by any other eighteenth-century sculptor. An examination of Kaendler‟s works shows that as a court sculptor he was capable of manipulating the material to produce a variety of three-dimensional works in both large and small scale. Read More:http://digitool.library.mcgill.ca/webclient/StreamGate?folder_id=0&dvs=1334085127979~897