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Robert, it cording to the catalogue, were produced in co-operation of Hubert Robert is noted, painted the landscape and the figures on the first,15 and this is prob- and Francoise Boucher. Together with an excellent in the collection. Pages from the Jean Cayeux mentions four other paintings of large dimensions 2. Cayeux relied on this as argument of the unre- liability of data on the paintings which are mentioned as the joint work of two artists.
These are in fact prints of drawings and, in view of the re- versed position of the figures represented on them, one can conclude that on the original drawings the figures were represented in the same positions as on collection its special quality: Robert… again in his book Hubert Robert et les jardins v. The other print Fol. Hubert Robert, Staircase shows a group of wash women which appears in the front plane on the paint- of the Park of Palazzo Farnese at Caprarola, ing, in front of a fountain, with a certain variation in the position of the dog.
The patron of the painting could have commissioned from 20 Ibid. Considering the fact that the author of the text refers to pages from an album and prints of drawings from a private collection, which were not reproduced in the text, we can only quote his opinion, at the moment without the possibility of making a comparison. Although the exhibition held in at the Villa Medici in Rome summed up knowledge to date on the work of these artists in Rome Roma , the attribution of their paintings is still not entirely completed: Carlson, Hubert Robert in Rome: Likewise, he could have asked Boucher, a celebrated master of representing the body in movement, to paint the figures.
Such a collaboration was in harmony with the spirit of the times which did not insist on sovereign authorship of a work of art. Should the painting have been created as part of the decoration of some representative space, which, considering its overall quality, is highly probable, a collabora- tion between the artists would have been accepted without questioning, pri- marily for practical reasons.
In view of the fact that neither of these authors had direct contact with this work of art, they could not have had more knowledge of all the relevant data tied to its history. What is most significant for that history, and could not have been deter- mined without immediate insight and study of the front and back sides of the painting itself, is the inscription on the key stretcher: Minor discrepancies in dimensions are logical, considering the the rentolage of the painting and its setting on the key stretcher.
From it we can conclude that at the end of the 19th century it was still regarded as a joint work of Robert and Boucher and as one of the four compositions intended for La Muette fig. Dilke does not indicate the source of such claims. La Muette palace, lo- cated in the Bois de Boulogne in Paris, was renovated under Louis XV and Francoise Boucher took part in its decoration, in particular in the production of the tapestries.
After her arrival to France in , Marie Antoinette spent most of the following three years there. Emily Dilke in , we find direct mention of four fine panels of dining room 31 The estate and the palace of La Muette were in the possession of the royal family from the 17th century.
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At that time the small palace was renovated for Marguerite de Valois, and at of La Muette During the Revolution La Muette became the property of the state and the estate was subsequently divided into smaller parcels and sold. He added a long 28 The inscription is made in black pencil on the left side of the upper horizontal beam of the key gallery in which he exhibited his large collection of paintings, one of the most significant in stretcher.
He also had a respectable collection of the applied arts. II, Firen Didot, Paris , The data, offered by Dilke, that there were four large paintings made for the dining hall of that palace stands in accordance with that mentioning four paintings of equal dimension at the sale of the collection of Randon de Boisset. Both sources of information are unison regarding their authors — Robert and Boucher, as a painter of figures. Had these paintings actually been intended for La Muette, they left the palace shortly after and reached the collection of de Boisset.
Because Louis XVI introduced reforms, as part of his broader efforts to resolve the general and in particular the economic crisis in France, and introduced sanctions which implied the abolishment of apanage to numerous palaces as well as their closing down, the removal of art works which they had once housed, as attested by a number of examples, as well as their appearance on the market, were common. Considering the fact that La Muette, in its entirety, along with the Madrid palace, found its way to the market in , after the king had ceased with its exploit, one can not rule out the possibility that certain art works may have already been put on sale prior to that date.
In the absence of other data and documents which could offer definite and irrevocable arguments in favor of one of the two theses, all we can do for now is sum up our research carried out so far: The figures on the painting were most probably painted by Boucher. Their exceptional quality indicates that they are the work of a virtuoso in representing human and animal bodies figs. That is confirmed by the above mentioned relevant sources. These two palaces were not sold in after all.
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The reason was the high price of the property. It was part of the their displacement. It is, thus, highly improbable that the authors of the day large lot of art works which were to be sold through the Wildenstein Gallery made mistakes regarding his paintings, in this case in attributing the figures in January This transaction was never realized but the painting was, to Boucher.
The name give representative space, probably of the La Muette palace. Large landscape with a part and double stair- How long those paintings dwelt at the palace remains unknown for now. It is dated to around , and the names Prior to their sale in they were in the collection of Randon de Boisset. Robert, Hubert and Boucher, Francoise appear as identification of the authors. Together with the entire lot of works of fine and applied arts and other On the upper horizontal bar we read: Following the death of the owner and his tee of the Government of the FPRY and, based on the assesment, according wife, as of , art works from the Goldschmidt collection appear on the to the notes and lists put together by a committee of experts, was admitted in market, offered for sale by their heirs.
All were to go to the Linz museum The landscape was later sold in Berlin for 3,5 million francs to the art dealer Lange, who in turn sold it to the Linz museum: Note by the number The testimony on shipments organized by Roger Dequoy, cgi? Munich from which restitutions were made in the period between and , after re- 35 This issue has been dealt with extensively in existing bibliography. Haase , Die quests made by various states and according to documents of pre-war owners.
Verlags-GmbH, Berlin ; G. Haase, Die Kunstsammlung Adolf Hitler. Kusin, Mimara, Centar za informacije i publicitet, Zagreb , The stitch is found at lection of European art. The original dimensions of the painting can not be determined with any degree of certainty. The present width of the original parts is not the same down the Technical characteristics of the painting Parts of the canvas which were added dergone several interventions of conservation and restoration.
They bear representations painted to fit the elements of the original composition. The added parts were painted over a single-layer white ground, as opposed to the original double ground which is made up of two layers — the lower being red and the upper grey. A tear in the lower part of was closed up by gluing a piece of canvas on the back side of the paint- ing. This damage can also be detected on the front face of the painting, on Hubert Robert, Staircase of the Park 43 Technical examination was performed in the course of conservation-restoration works.
French will soon be published. National Museum, to whom we also extend our gratitude. Hubert Robert, However, his capacity to recreate, recompose, recontextualize, was particu- Staircase of the Park larly vital. Among others, this is attested also by his painting kept at the Na- of Palazzo Farnese at Caprarola, detail tional Museum.
Monumental, imagi- nary architectural forms were created under the influence of Piranesi. Like Panini, he paid little at- photographs made using the infra-red spectrum figs. This intervention was works, his veduttas were different. He created an impression of the size of also performed prior to the arrival of this work of art at the National Museum. On the back, the lining used to restore the damage inflicted on the painting The number the number pertaining to the Central Collection Point at Munich appears in several places.
The number 19 is writ- ten on the junction of the vertical cross bar and the upper horizontal bar. Staircase of the Park of Palazzo Farnese at Caprarola and the aesthetics of the picturesque Throughout his entire career Hubert Robert adopted already sought out solutions — of other artists or his own — and arranged them into new picto- rial bodies. From the perspective of the first half of the 20th century, his paintings, compared to contemporary historical paintings, appeared decorative and lightweight.
Laroque, Le Discours de Piranese: A posthu- heroic themes, as well as the suggestive and poetic forms. Gradually, painting from the National Museum, derives from a tradition established at it focused on landscape, landscape painting and garden design. In the second the beginning of the century, i. The part of the century it denoted a rounded off aesthetic category. The same is true of human figures, too. As in the entire field of French art of literary genre, as well as among representatives of an emerging, new literary the first half of the century, the painted figures, whether by Boucher of the genre — that of art criticism, as well as those who wrote on the subject of gar- Boucher type, are an expression of social configuration and not of individual den and park design.
The people in the painting are more generic The aesthetics of the picturesque shaped the most popular genres of visual than particular representations: The and are not fixed in any specific narrative part. In France, the inclusion of the term it was common to represent themes which could not be precisely explained 49 R. Giorgio Vasari relies on setting of monumental Renaissance architecture in ruins is broken down the term alla pittoresca in explaining similar phenomena in painting, and Marco Boschini and into endless poetic and lyrical interpretations.
The observer of the painting is Giovanni Battista Volpato use it in the second half of the 17th century to denote the typical drawn into rounding off its visuality. As an 25 framed drawings and 12 lots with a great number of individual pages: Hyde, Making Up the Rococo. On the history 48 On that: Bryson, Word and Image: The semantic expansion of this concept is the middle of the 18th century, is marked also by the emergence of a fascina- tied to the Age of Enlightenment.
In visual culture of the Saint-Pierre from , as well as in visual culture. Their irregularity, the tension be- darkness. The work of Robert des especially those from Caprarola and Tivoli, and found therein a picturesque Ruines marks the apogee of French ruin painting. In it the remains of the past beauty and atmosphere. Even when he painted buildings untouched by time, stand as an organic metaphor which lived and passed away, disintegrated by such as the colonnade of St. For Robert and his gen- all, under the influence of Piranesi,56 as well as of the French rovinistic tradi- eration, ruins were more eloquent than unscathed buildings, for they offered testimony of particular manifestations of material culture in the continuum of time and history.
Denis Diderot shared the same thoughts, the same idiom of aesthetic criti- cism and representation. He believed that ruins are more inspiring than un- touched structures. The hand of time has sewn over the moss that covers them the spirit of great ideas and melancholy feelings. A Glossary of Eighteenth-Century Usages, Hispanic terior appearance of ruins, but their atmosphere as well.
Diderot understands Review 44 , ; J. When, in the 18th century, ruins became an aesthetic pleasure, traditional ter- minology became inadequate and, thus, writers relied on terms adopted from the visual arts 57 French painters dealt with this theme on heroic and pastoral landscapes already during the to create the impression of their appearance and structure: Daemmrich, The Ruins Motif 17th century. On ruins as an aesthetic object: His work is most significant for the development of a more sugges- 55 On that: Augustin, Subjectivity in the Fictional Ruin: The Caprice Genre, Romanic Review 91, tive and emotional way of depicting ruins in France, and he became the major model for the , ; B.
Romantics and the Monumental Figure, Albany , Four Paintings of Fictive emotional category: Neoclassicism at the Art Institute , , Everything is obliterated, all perishes, all passes. There is nothing but the world that re- mains. Time, is all that remains. How old is earth is! I move between two eternities. No matter where my eyes fall, the objects that surround me speak of an end…How can my transient existence be of comparison to this boulder that is collapsing… I can see the marble tombstones disintegrate into dust, and I do not wish to die!
A torrent is dragging one nation over another to the depths of a common abyss; pretend all alone to stop on the edge and cleave the waters that rush by my sides. The birth of the poetics of ruins at the Salon of can be characterized as a result of fear generated by the presentation of ruins, one which drove the observer to construct parallel images of his own universe of ruins. In time, Di- derot, and such is the case with other literatti of the times too, shows a certain disinclination from the picturesque and focus is redirected to the sublime.
Thus, in the eyes of Diderot, Robert assumed the status of excellent peintre de ruines antiques and grand artiste. Diderot, Ruines et paysages, Salon de , XI, Fried, Absorption and Theatricality. Painting and Beholder in the Age of Diderot, Univ. At the moment Robert was working on this particular painting he was not counting on the presence of an acute sense of the sublime in the eye and soul of the beholder so that he follows the path of poetic pres- entation of the destructive capacity of time which arouses aesthetic pleasure and agreeable meditation.
This was precisely the quality required of the painted decoration of petites maisons, maisons de plaisance, as well as of that of the royal chateaux. Paris is inescapably treading down the Hubert Robert, The Portico path of imperial Rome and becoming a shattered image of its former glory.
Burke, Reflections on the Revolution in France, London , Painted Spaces of the Enlightenment, Cam- bridge Univ. Dubin, Futures and Ruins: The Painting of Hubert Robert, Center 25 , In the course of earlier conservation-restoration inter- ventions it was lined on linen canvas and received a key stretcher with cross bars. At that time the lateral edges of the canvas were trimmed and covered with paper tape, the painting cleaned and retouched. In the course of the lat- est intervention the painting underwent technical examination and minimal conservation-restoration works.
Like a great number of his paintings, The Park on the Lake has no precise topographic determination. Kajtez, senior restorer of the National Museum in Belgrade, and M.
They were executed by restorers mentioned in footnote 43 of the previous chapter. Kusin, Mimara, Centar za informacije i publicitet, Zagreb ; M. Ten years after his return from Italy, at the Salon of , Robert gives precise identification of the location he is depicting for the last time. From , Robert no lon- ger exhibits paintings whose titles evoke memories of Italy.
That is the time of his greatest artistic rise, important commissions and production of smaller format easel paintings with which he supplied a broad market. The Fontaine sous un portique fig. Although, at first, glance, the general impression is While the composition from the Louvre displays a great number of sculptures, The Park on the Lake has just one, on a pedestal with a plaque bearing an inscription leaning against its lower right part.
Both paintings share another typical Robert motif — the artist in the act of painting, seated in front of the model. This motif is found on a great number of his drawings — from Italian capricci to paintings of the Grand Gallery of the Louvre. His self-representation almost always takes on the form of an artist enchanted in recording the spectacle of which he is both witness, participant and author, all at the same time.
The inclusion of his own im- age in multifigural compositions, especially conversation pieces, as well as in landscapes, and representations of gardens in particular, is typical of the 18th century. This could be interpreted as an adaptation of the old tradition of self-expres- sion in the guise of melancholy genius although without the conventional Hubert Robert, The Park on the Lake, detail iconography and with a highly arcane sense of such an allusion.
As in other works, Robert disregards the portrayal of the face — his own or someone 7 A similar example is found in the Museum of Valence and on sketches from the Graphics Collection of the Louvre, RF and RF The Garden, Yale Univ. From then on, the body as character — as it was called by the writers of the day — evokes a broad scope of states and emotions in the visual arts, literature and music.
It also encompasses the opus of Robert and, thus, the painting from the National Museum as well. In time, this term becomes ever more strongly associated with landscape, landscape painting and garden design and, through them, constructed as a rounded-off aesthetic category. Aesthetics of the picturesque determined, to the greatest possible extent, the creation, presentation and perception of veduttas and capricci, and guided their growing popularity.
Garden design is a typical artistic manifestation of the 18th century.
33 Color Paintings Of Hubert Robert French Rococo Painter May 22 1733 April 15 1808 English Edition
Gardens and parks were the field of experimentation and establishing of new theories and styles. Representatives of the Enlightenment saw nature as a field of exploration and self-perception, the goal of education and foundation of progress. The concept originates Gardens and the Picturesque: He also created garden and painted decorations combines philosophy, science, politics, ethics and aesthetics. Experiences like those are woven into The Although French theoreticians contributed to the development of the Park on the Lake. As pointed out already, it does not represent any specific picturesque garden already in the first half of the 18th century,20 the most but rather an imaginary domain which combines memories of gardens of significant treatises dedicated to this form of horticulture were published in Renaissance villas and knowledge of the French gardens of his epoch.
Their authors were most often also the During the previous, 17th century, the French garden was under strong ideators of their own gardens.
The garden structure of Moulin-Joli, adapted to the existing state of yielding to the principles of the aesthetics of the picturesque. Weiss, Mirrors of Infinity: The French garden Metaphysics, New York , Wellman-Aron, On Other Grounds. Landscape and Power, Chicago , , 2. The critic woods behind Chateau de Rambouillet. Robert lead a team of artists and artisans, among whom was 21 C. Watelet, Essai sur les jardins, Paris , el.
Lagrenee, director of Sevres: The same can moire des jardins, in: Although the general tone was set by the prominent theoretician of horticulture, its key creator was Robert. He was subjected to nature, he served as her assistant, la seconder, a demand put before the gardener by Morel. It is not only a natural scene, and not just a representation of a natural scene, but a natural representation of a natural scene, a trace or icon of nature in nature itself Hubert Robert, Le temple viewing and feeling.
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They are integrated with nature because, on the Lake beckons the beholder, that is the passer by, to enter into nature. Passing through it offers a feeling of pleasure. This feeling is rounded off by The qualities which characterize The Park on the Lake — picturesque elements the theoreticians insisted on: Both as painter and as garden 24 On that: Mitchell, Imperial Landscape, in: Landscape and Power, , He emphasized his own role as creator of such pictural poetics, as on The Park on the Lake, by representing himself in the act of sketching in the first plane.
For this reason much of his opus was considered uninteresting. While philosophers and men of letters, likeMarcel Proust, enjoyed similar paintings, in particular his representations of the park of St. Being guided by historical context, it was enough to let The Park on the Lake enchant us with its serenity, its golden aura, the possibility of allusive, nostalgic and meditative spiritual paths.
Ouvres completes de Gallimard Garnier, Paris , Tome X. Randon Diderot on Art — II: The Salon of , trans. The ment of Taste, Cambridge Massachusetts Caprice Genre, Romanic Review 91, , The decline of state Paris France, University of California Press French Painting of the in the career of one exemplary theme, , in: Image, Object, Gassner, J. Robert a 18 , Schemes and transformations in connex- Roma, exh.
Century Studies 22 , Poetry, cism at the Art Institute , , Century, Baltimore, London Supplement to the Burlington Magazine, i-vi. France , London, New York Romantics and the Monumental Bell, A. Old Regime France Carlson, V. Some Pen-and- Dubin, N. The Painting of Hubert Figure, Albany Seductive Visions, Bermingham, A. Studies in the Cayeux, J. Dictionary of Art, Fontaine, L. Oxford , Vol IV, Social Redistribution and an Massachusetts National Identity Alternative Currency, in: Luxury in the Eighteenth Hyde, M.
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His Critics, Los Angeles A Glossary of Eighteenth- Montagu, J. Warburg Institutes 31 , Philosophy and the Mortier, R. Making of Modernity , Oxford An Essay, Genova Dress and Fashion in Social Change, in: Rewriting the French Revolution, Nolhac, P. The Shifting Perception Rosenblum, R. Gaeh- Owens Schaefer, J.
Though no one knows the specific details of the f Old master print period — c. Morel never visited England to see the English garden style, but his book profited from the published theories of Thomas Whately and Claude-Henri Watelet and from the experience he had gained from his close association with the marquis de Girardin at Ermenonville. Girondin's own De la Composition des paysages appeared in History Morel was chief architect to the Princes of Conti from as early as Space in landscape design refers to theories about the meaning and nature of space as a volume and as an element of design.
The concept of space as the fundamental medium of landscape design grew from debates tied to modernism, contemporary art, Asian art and design as seen in the Japanese garden, and architecture. The origins of modern northern European thought is a German aesthetic philosophy of the s. By the s, Einstein's theories of relativity were replacing Newton's conception of universal space.
Practitioners such as Fletcher Steele, James Rose, Garrett Eckbo, and Dan Kiley began to write and design through a vocabulary of lines, volumes, masses and planes in an attempt to replace the This is a chronological list of French engravers. Its gallery contained one of the best collections of Flemish and Dutch art of the period along with some of the largest cabinet furniture.
Events from the year in art. They promoted the advancement of science and secular thought and supported tolerance, rationality, and open-mindedness of the Enlightenment. Beyond the known collaborators — at least in name — many articles are not signed and certain authors Pierre Bourgeade 7 November — 12 March was a French man of letters, playwright, poet, writer, director, journalist, literary critic and photographer. A descendant of Jean Racine, he was also the brother-in-law of the writer Paule Constant.
Prix du Syndicat de la Critique dramatique Palazzo Mentale La Rose rose Gallimard "Le Chemin" L'Armoire Gallimard "Collection Blan Naples, Teatro Nuovo Le gelosie or: Naples, Teatro San Ca The Catalog of paintings in the Louvre Museum lists the painters of the collection of the Louvre Museum as they are catalogued in the Joconde database. The collection contains roughly 5, paintings by 1, artists born before , and over named artists are French by birth. For painters with more than two works in the collection, or for paintings by unnamed and unknown artists, see the Louvre website.
Per artist a maximum of two artwork IDs is provided with which the artwork can be searched online. The two-letter prefix in the ID indicates the origin of the artwork: Sordet was commissioned into the 57th Infantry Regiment as a second lieutenant in November , during the Franco-Prussian War. Portrait of Watelet by Jean-Baptiste Greuze , ca — Braziller , pp ff. Whately's Observations on Modern Gardening, illustrated by descriptions, appeared in London, Bailey Bailey , p 65ff.
He was in time a corresponding member of several academies outside France: William Hogarth , who had written his own Analysis of Beauty in , translated Watelet's essay on Grace; the manuscript, never published in Hogarth's lifetime, is at the University of Illinois. Robert's drawings for the suite are at the Morgan Library , New York.
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