It is certainly not unusual to see Venus in various states of undress within art from the Baroque and Renaissance periods - there are countless examples such as this to marvel upon from some of the finest artistic names to have ever graced European art. The goddess of love was an undeniably strong influence over artists generally, with several particular scenes of mythology being captured on regular occasions.
Cupids were, of course, used many times by artists to symbolise certain emotions. They would normally play a supporting role, perhaps surrounding the main figure of each artwork. They are also common within sculpture too. William-Adolphe Bouguereau, a French realism artist, perhaps used them the most. They would be captured in a way that would actually bridge the styles of mythology with the real world.
Carracci would use the figures in this painting in an informal, personal way. They were in a domestic scene, perhaps a morning moment before all had awaken properly. The artist places them all close together with little organisation or formality of duties. This type of relaxed situation may remind some of other Venus depictions from several centuries either side of Carracci's own career, such as Rokeby Venus by Diego Velazquez, Sleeping Venus by Giorgione and The Birth of Venus by Sandro Botticelli.