◇ Nymph & Cupid

A singular, ethereal figure is accompanied by a winged cherub, set against a dense, ink-black void framed by a gestural floral border. The soft, rounded contours of the central subject contrast with the sharp, graphic quality of the blue bow and crimson accents, creating a sense of suspended animation. It captures a moment of quiet intimacy, where the weightless application of pigment evokes a dreamlike, voyeuristic atmosphere characteristic of early 20th-century Parisian expressionism.

Why We Picked It
The piece is compelling for its use of negative space and a restricted but high-impact palette. The artist employs a "sfumato" approach to the flesh tones, allowing the figure to glow against the dark ground, while the hurried, rhythmic brushstrokes of the border add a decorative folk-art energy. This juxtaposition of delicate figurative work and bold, saturated blues and blacks creates a visual tension that serves as a focal point for curated, eclectic interiors.

Notable Context
Created during the interwar period in Montparnasse, this work reflects the "School of Paris" (École de Paris) aesthetic—a melting pot of international artists who prioritized emotional expression over rigid realism. The artist, Jules Pascin, was deeply influenced by the bohemian subculture of the 1920s, a time when Europe was navigating the aftermath of the Great War through escapism and a return to classical subjects like Eros and Psyche, reimagined with modern vulnerability. This specific style of delicate, "pearly" watercolor-like oil application became a signature of the era's avant-garde movement, bridging the gap between traditional portraiture and modern abstraction.

About the Artist
Jules Pascin (1885–1930), known as the "Prince of Montparnasse," was a Bulgarian-born painter who became a central figure in the Parisian art scene alongside Modigliani and Soutine. His mastery of line and light, often focusing on the human form in repose, earned him international acclaim. Pascin’s work is characterized by a sensitive, often melancholic exploration of his subjects, using thinned oils to achieve a translucent, watercolor effect that feels both spontaneous and deeply considered.