Jacquot drew inspiration from the sculptures of Greek antiquity, which according to the archaeologist-historian Johann Joachim Winckelmann (1717-1768) were the finest models of all, and which were still advocated by the French Academy in Rome during the 1820s. His work also drew upon the sensual Neoclassicism of Antonio Canova (1757-1822). Thus, the young faun bending over the languorous bacchante whom he supports, a hand casually laid on her right breast, recalls the composition of Canova’s masterpiece, Cupid and Psyche of 1798 (Musée du Louvre, inv. M.R. 1176).
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