Cupid and Psyche

David's Cupid and Psyche from 1817 was painted in Brussels, where he lived in exile after Napoleon's fall as a former regicide and imperial supporter. The mythological subject represents a striking departure from the severe civic themes — Oath of the Horatii, Death of Socrates — that defined his Revolutionary career, suggesting a late turn toward sensual classical mythology that some critics attributed to Flemish influence and others to the freedom of exile. The young Cupid stealing away from the sleeping Psyche is painted with a marble smoothness that reflects both David's continued commitment to neoclassical finish and his engagement with the sensuous classicism of his pupil Girodet. It was controversial when exhibited: some found it inappropriately erotic, others a masterpiece of cold perfection. It remains one of the most debated works of his career.

David's late technique shows a remarkable evolution from his austere Revolutionary style, with softer modeling, warmer flesh tones, and more sensuous handling of the nude figures. The precision of drawing remains but is tempered by a gentler palette and more atmospheric treatment. The smooth, refined surface demonstrates David's undiminished technical mastery.