William Adolphe Bouguereau’s passion for the classical past is felt powerfully in this exceptional composition, entitled Secrets de l’Amour (Cupid’s Secrets). Often grouped with a category referred to as “fantasy paintings,” Cupid’s Secrets reveals to the viewer a young maiden, seemingly lost in thought. She has fallen under the spell of Cupid, whose coy glance alludes to his mischievous ways as he gracefully drapes himself over her shoulder. Set against a marble basin within a wooded backdrop, Bouguereau’s figures appear luminescent, adding to the fantastical feel of this mythical scene.
The year 1896 was a significant one for Bouguereau, as it marked one of the busiest times of his career. His classical scenes, finessed with utmost academic rigor, were immensely popular, and even with the increased demand, Bouguereau maintained an exceptionally high quality standard of his works. Interestingly, Bouguereau was so busy that he called repeatedly on the model for this composition, Odile Charpentier. She was one of Bouguereau’s preferred figures, and her appearance can be traced through several other works from this year.
At the same time his professional career was enjoying such success, Bouguereau also reached an important personal achievement, his marriage to long-time love Elizabeth Gardner. With this union in mind, Cupid’s Secrets can be seen as a celebration of love blended with Bouguereau’s unyielding fascination with antiquity. This blend allowed him to convey a unique timelessness that was universally approachable while also showcasing his impeccable painterly technique.
Unpretentious and modest, Bouguereau became one of the most decorated artists of the 19th century. He received medals from the Salons and Universal Exposition successive ranks, including Grand Master, of the prestigious Legion of Honor. He was also the leading member of the Institute of France and President of the Society of Painters, Sculptors and Engravers. His art never deviated from the basic principles of Academic training, and he so dominated the Salons of the Third Republic that the official Salon became known unofficially as Le Salon Bouguereau. In addition to the accolades of the art world, Bouguereau received many prestigious commissions to decorate public buildings including the Grand Théâtre in Bordeaux and the chapels of Sainte Clothilde, Saint Vincent de Paul and Saint Augustin in Paris. He also painted decorations for private mansions of the property entrepreneurs in Paris and his hometown of La Rochelle. Bouguereau’s paintings are immensely popular in the United States, evidenced by the fact that his works are a part of a number of museums and private collections throughout the country.
