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Lot Essay
Upon his arrival at the Acadmie de France in Rome in 1754, Robert took up an interest in the fashion set by Panini of illustrating ruins and landscapes. Instructed by its Director, Natoire, he specialized in these subjects, along with Fragonard. When Robert returned to Paris in 1765, he applied to the Acadmie Royale de Peinture. But to be accepted at the Acadmie, even as a landscape painter, Robert needed to train in figure drawings. Naturally he took as an example one of the most recognized masters of the period, and president of the Acadmie, Franois Boucher.
Even in France, if Robert was to continue to specialize in landscapes and ruins he needed to create prototypes of figures that could be used as staffage in his pictures. His effort in creating a figure style, though heavily dependant on Boucher, is seen in the counterproofs of the Album Ryaux, sold in these Rooms, 10 January 1996, lot 216.
Robert was to use the album, and other similar drawings executed during that period, as a source for many of his more finished figures. Thus the present drawing is found in a sheet of the album, leaning on a balustrade and conversing with a seated figure (illustration 14 of Christie's catalogue, 10 January 1996, lot 216, p. 211). The figure is again found in a drawing in Valence datable to 1775-80 (Washington, National Gallery of Art, Hubert Robert, Drawings & Watercolors, 1978, no. 45) and in reverse in a drawing in the Henri-Lvy Sale; Paris, 15 June 1925, lot 89.
Even in France, if Robert was to continue to specialize in landscapes and ruins he needed to create prototypes of figures that could be used as staffage in his pictures. His effort in creating a figure style, though heavily dependant on Boucher, is seen in the counterproofs of the Album Ryaux, sold in these Rooms, 10 January 1996, lot 216.
Robert was to use the album, and other similar drawings executed during that period, as a source for many of his more finished figures. Thus the present drawing is found in a sheet of the album, leaning on a balustrade and conversing with a seated figure (illustration 14 of Christie's catalogue, 10 January 1996, lot 216, p. 211). The figure is again found in a drawing in Valence datable to 1775-80 (Washington, National Gallery of Art, Hubert Robert, Drawings & Watercolors, 1978, no. 45) and in reverse in a drawing in the Henri-Lvy Sale; Paris, 15 June 1925, lot 89.