French school from the end of the 18th century attributed to Hubert Robert and his workshop-Bucolic scene in a park
Canvas 81 cm by 54 cm
Old frame 90 cm by 63 cm
This superb painting was most certainly painted in the 1770s or 1780s as a whole series of representations by the artist of parks and gardens.
Hubert Robert (1733-1808)
Artist who is undoubtedly one of the main protagonists of the general renewal of landscape painting which marks the second half of the 18th century in France.
Brilliant spirit, gifted and creative artist, he manages to get into the most brilliant circles of his time, building an exemplary career in France from the Ancien Régime until the reign of Napoleon.
Trained in Rome around the middle of the century, Robert established himself on his return to Paris as an architectural painter. The philosopher Diderot immediately celebrated the poetics of the ruins of the young artist.
His production, which combines studies from nature and caprice landscapes, then offers many possibilities for confusion with that of Fragonard, of whom Robert was a friend; the Cascatelles de Tivoli (Louvre) were thus returned to Fragonard after having long passed for a Hubert Robert.
Hubert Robert, his style once found, changed little: his paintings, views of landscapes, towns or isolated monuments, real or imaginary ruins, always retain an air of poetic fantasy, a liveliness of touch, a certain vaporous character of the atmosphere, even when they have a well-defined subject. Thus the series of small views kept at the Carnavalet museum, and which make us the witness of some of the transformations of Paris in the last years of the reign of Louis XVI.
The painter gives us the sites and events in their reality or recomposed by the artist's imagination, for example the fire of the Opera at the Palais-Royal and the real state of the theater and the series of imagined Parisian monuments. in a ruined state.
To real events and representations must be added the representation of imaginary parks or rather parks imagined from those he has visited. It is a favorite subject of the artist especially in the years 1770-1780, so much so that the artist developed an original way of decorative painting in the form of imaginary gardens.
Happy in his life as in his work, Robert went through the years of the Revolution without any other inconvenience than, during the Terror, a few months of imprisonment at Sainte-Pélagie.