HUBERT ROBERT (PARIS 1733-1808)

Lot 34
21.11.2024 16:00UTC +00:00
Classic
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€ 138 600
AuctioneerCHRISTIE'S
Event locationUnited Kingdom, London
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ID 1336091
Lot 34 | HUBERT ROBERT (PARIS 1733-1808)
Estimate value
€ 60 000 – 100 000
HUBERT ROBERT (PARIS 1733-1808)
Vue inspirée de la façade orientale de la Villa Médicis avec des dessinateurs au premier plan
porte une signature 'H. ROBERT' (en bas, à droite)
huile sur toile
81,5 x 100 cm (32 1/16 x 39 1/3 in.)




Provenance

Collection des princes Massalsky (peut-être Vladimir Nikolaievitch, Prince Massalsky [1860-1940]), Paris.
Chez Wildenstein, Paris ;
Acquis auprès de celui-ci par Humbert de Wendel (1876-1954), en 1913 ;
Puis par descendance dans la famille.



Exhibited

Paris, Galerie Cailleux, Exposition Hubert Robert, 1929, n°29.
Paris, musée de l'Orangerie, Exposition Hubert Robert. A l'occasion du Deuxième Centenaire de sa Naissance, 1933, n°86.
Rome, Villa Médicis, Académie de France à Rome, J. H. Fragonard e H. Hobert a Roma, 6 décembre 1990-24 février 1991, n°152.



Further details

HUBERT ROBERT (1733-1808), AN IMAGINARY VIEW OF THE EASTERN FAÇADE OF THE VILLA MEDICI, WITH DRAUGHTSMEN IN THE FOREGROUND, OIL ON CANVAS, BEARS A SIGNATURE

Hubert Robert (1733-1808), as he so often delighted in doing, recreates in the present work the architecture he had observed during his Roman sojourn, presenting the viewer with a version of the Villa Medici in Rome that hovers between reality and fiction. The staircase of the Villa des Français and its balustrades adorned with marble balusters can be easily recognised, but the painter has removed the lions between the columns and raised the overall height considerably. By manipulating the scale, he lends the staircase a monumentality it does not truly possess; he further embellishes it with a pool beneath the Fountain of Silenus, originally located in the gardens of the Villa Albani. This fountain, was visible in its entirety in Rome during Robert’s stay, though part of it was subsequently brought back to France by Napolean’s pillaging armies. Its original appearance can be seen in a print by Piranesi (1720-1778) dating from 1767. In a painting dated 1775 (Royal Museums of Fine Arts of Belgium, Brussels, inv. no. 7021), Robert also borrows this fountain for an imaginary palace landscape. Judging by costumes of the draughtsmen in the foreground, the composition can be dated to the 1800s. It is an excellent example of the painter’s to the sustained use of the motifs he had observed twenty years earlier in Rome towards the end of his life, an act of creation between homage and nostalgia.
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