Hubert Robert

Ancienne collection Madame Paul Dupuy, Paris.

Paris, Musée de l'Orangerie, Second Centenary Exhibition Hubert Robert, 1933, no. 71;
Londres, Three French Reigns, 1933, no. 7;
Paris, Galerie Cailleux, Hubert Robert et Louis Moreau, novembre-décembre 1957, no. 14.

G. Isarlo, "Hubert Robert", in Connaissance des Arts, mars 1953, p. 33, no. 117.

The following condition report has been provided by Catherine Polnecq, 12 rue Saint-Sabin - 75011 Paris, Tel: 33 (0)1 48 05 30 53, Email: c.polnecq@hotmail.fr, an independent restorer who is not an employee of Sotheby's. Very good overall condition. Under a uniform and dirty yellow varnish. Under ultraviolet light: Very small retouches are visible in the upper part.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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Hubert Robert est le peintre de caprices français le plus célèbre de son temps. Il se proclamait l'élève de Panini dont il découvrit et étudia les œuvres lors de son séjour à Rome, de 1754 à 1765. Son surnom "Robert des Ruines"  illustre parfaitement l'un des thèmes picturaux les plus chers à l'artiste : les ruines ou paysages rustiques animés de personnages dans des activités de la vie quotidienne.

Ces onze années passées en Italie combinées à une observation minutieuse des bords de Seine et de la campagne parisienne, eurent une influence considérable sur la peinture d'Hubert Robert. Celui que l'on appelait également "le maître des jardins", et à juste titre puisqu'il fut nommé dessinateur des Jardins du Roi en 1776, entretenait avec la nature un rapport privilégié. Ce titre lui permit de travailler à Versailles où le comte d'Angivillier le choisit pour redessiner le bosquet des bains d'Apollon. Il fut également appelé par la haute aristocratie à réaliser tout autour de Paris de nombreux jardins célèbres comme ceux de Méréville ou d'Ermenonville.

Le tableau que nous présentons est tout à fait caractéristique de l'œuvre d'Hubert Robert. Le thème des lavandières fut traité à plusieurs reprises par l'artiste. Il accorde ici une grande importance à la lumière qu'il allie à une exécution vive mais précise. Malgré la hauteur des arbres et la profusion des feuillages, Hubert Robert parvient à rendre l'intimité et le charme d'une scène de la vie de tous les jours.


WASHERWOMEN BY A WELL

Signed and dated lower centre
Oil on canvas, oval

Hubert Robert was the most famous French painter of capricci of his time. He was a pupil of Panini's, whose works he studied whilst in Rome between 1754 and 1765. His nickname 'Robert des Ruines' perfectly illustrates the artist's favourite subject matter : classical ruins and landscapes animated by figures going about their daily chores.

The eleven years he spent in Italy together with a careful observation of life on the banks of the Seine and in the Parisian countryside, had a considerable impact on Hubert Robert's paintings. The artist was also called "le maître des jardins", largely due to his appointment as the designer of the Jardins du Roi in 1776, but also because he always had a special relationship with nature. His appointment led him to work at Versailles where the Comte d'Angivillier chose him to redesign the grove around Apollo's baths. He was also commissioned by aristocrats to design numerous gardens around Paris, such as those at Méréville and Ermenonville.

The present painting is entirely characteristic of Hubert Robert's works. He treated the theme of washerwomen on numerous occasions. In this example he gives great importance to the light effects, which perfectly accord with his swift but detailed brushwork. Despite the thick foliage and impressive height of the trees, Hubert Robert manages to successfully portray the intimacy and charm of a scene from everyday life.