Explore the Theme and interpretation of this artwork.
La Psyché shows a young model in Stevens' Parisian studio during a break. She is half hidden behind a mirror, through which she looks at the viewer directly in the eye. Such a large mirror, wherein one can see oneself fully, is a piece of furniture typical of the second half of the nineteenth century and, as mentioned, it was also called psyché. The title of the painting, however, also refers through the furtive glance of the young woman to the myth of Psyche, who was forbidden to look at her beloved Amor, but secretly could not resist.
In the painting, in a witty transposition, Stevens’ model takes a break from posing and peeks around the psyché that stands in for the canvas on an easel. The artist's presence is implied by his cigarette butt, ash, and extinguished match on the floor (Stevens was a heavy smoker). There is a parrot, which signifies the act of imitation—just as the bird mimics human speech, so the artist imitates (or "mirrors") life. The Japanese prints in a portfolio reveal the artist's interest in Asian art. Stevens was an early collector, and he advocated Japonisme, which became increasingly available after a treaty opened Japan to international trade in 1854. Like Rembrant, Stevens was renowned for his ability in portraying exotic objects.
Japonisme Amor easel Psyche Paris