View full screen - View 1 of Lot 95. Landscape with ruins and the statue of Marcus Aurelius | Paysage aux ruines et à la statue de Marc Aurèle.
95

Hubert Robert

Landscape with ruins and the statue of Marcus Aurelius | Paysage aux ruines et à la statue de Marc Aurèle

Estimate:

120,000 - 180,000 EUR

Hubert Robert

Hubert Robert

Landscape with ruins and the statue of Marcus Aurelius | Paysage aux ruines et à la statue de Marc Aurèle

Landscape with ruins and the statue of Marcus Aurelius | Paysage aux ruines et à la statue de Marc Aurèle

Estimate:

120,000 - 180,000 EUR

Hubert Robert

Paris 1733 - 1808

Landscape with ruins and the statue of Marcus Aurelius


Monogrammed and dated on the stele at the foot of the statue HR / 1760

Oil on canvas

56,4 x 89,3 cm ; 22¼ by 35⅛ in.

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Hubert Robert

Paris 1733 - 1808

Paysage aux ruines et à la statue de Marc Aurèle


Monogrammé et daté sur la stèle au pied de la statue HR / 1760

Huile sur toile

56,4 x 89,3 cm ; 22¼ by 35⅛ in.

To request a Condition Report for this Lot, please contact clemence.enriquez@sothebys.com.


Please note: Condition XVI of the Conditions of Business for Buyers (Online Only) is not applicable to this lot. (Veuillez noter que l'Article XVI des Conditions Générales de Vente applicables aux Vendeurs (Ventes Effectuées Exclusivement en Ligne) n'est pas applicable pour ce lot.)


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Sale of the Late Mademoiselle L. P? [Parent, as per Lugt], Paris, Hôtel Drouot, 23-25 June 1921, lot 83;

Léon-Marc Lowenstein (1864-1935), Paris;

His sale, Paris, Galerie Charpentier, 17 December 1935, lot 76;

Anonymous sale, Paris, Palais Galliera, 31 March 1966, lot 32;

Anonymous sale, Paris, Palais Galliera, 28 March 1968, lot 158;

Anonymous sale, Paris, Palais Galliera, 25 November 1971, lot 38;

With Newhouse Galleries, Inc., New York, 1974;

Bought from the above by William Braun Dietrich (1942-2010), Villanova, Pennsylvania;

To his brother Daniel W. Dietrich II (1941-2015), Chester County, Pennsylvania;

Daniel W. Dietrich Foundation, Philadelphia;

Private collection, France.

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Vente de la succession de Mademoiselle L. P? [Parent, selon Lugt], Paris, Hôtel Drouot, 23-25 juin 1921, lot 83 ;

Léon-Marc Lowenstein (1864-1935), Paris ;

Sa vente, Paris, Galerie Charpentier, 17 décembre 1935, lot 76 ;

Vente anonyme, Paris, Palais Galliera, 31 mars 1966, lot 32 ;

Vente anonyme, Paris, Palais Galliera, 28 mars 1968, lot 158 ;

Vente anonyme, Paris, Palais Galliera, 25 novembre 1971, lot 38 ;

Newhouse Galleries, Inc., New York, 1974 ;

Acquis auprès de cette galerie par William Braun Dietrich (1942-2010), Villanova, Pennsylvanie ;

A son frère Daniel W. Dietrich II (1941-2015), Chester County, Pennsylvanie ;

Daniel W. Dietrich Foundation, Philadelphie ;

Collection particulière, France.

Like lot 93, this majestic painting is a fine example of Hubert Robert’s art, with its depiction of an idealized Italy.  


As was his habit, Hubert Robert has taken a motif from the many sketches he made on the spot. Here, the starting point for his composition is the equestrian statue of Marcus Aurelius, which stands on the Capitoline Hill in Rome. Hubert Robert returned to it on many occasions, describing the statue from different angles and making numerous sketches: there is one in the Metropolitan Museum of Art in New York (inv. 1975.I.693). An equestrian statue of Marcus Aurelius was even one of the objects included in the sale of his assets after his death.


In the present painting, the emperor faces the viewer, his right arm raised in the attitude of command. The statue is set in front of a ruined colonnade, with stelae and antique vases scattered on the banks of a river. A few figures animate the scene: some are studying the statue, while others are seated to one side.


The artist’s brushstroke was already free in this painting dated 1760, the year that Hubert Robert travelled to Rome and Naples, accompanied by the Abbot of Saint-Non. The reputation of the artist was already well established since in that year the abbot described Hubert Robert in his Journal as ‘a young painter of very great Prospects and supreme Talent in the genre of Architecture And Ruins’.


The present painting is a fine endorsement of the abbot’s accolade: paying tribute to the grandeur of the Eternal City, Hubert Robert presents an idealized image of an Italy whose past is still very much alive.


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Tout comme le lot 93, cette majestueuse toile constitue un bel exemple de l’art d’Hubert Robert, donnant à voir une Italie idéalisée.


Comme souvent, il reprend un motif qu’il a étudié à travers de nombreuses esquisses réalisées sur le vif. Ici, Hubert Robert élabore sa composition à partir de la statue équestre de Marc Aurèle, située sur la place du Capitole à Rome. Hubert Robert y revient maintes fois, décrivant la statue sous différents angles et réalisant de nombreux croquis, comme par exemple celui conservé au Metropolitan Museum de New York (inv. 1975.I.693). Une statue équestre de Marc Aurèle figure même dans sa vente après décès !


Dans le présent tableau, l’empereur nous fait face, le bras droit levé en signe de commandement. La statue se dresse devant une colonnade en ruines, aux côtés de stèles et vases antiques que borde une rivière. Quelques promeneurs animent la scène : certains étudient la statue tandis d’autres sont assis sur le côté.


La touche déjà libre de l’artiste se retrouve dans cette toile datée de 1760, année durant laquelle Hubert Robert se rend à Rome et à Naples, accompagné de l’abbé de Saint-Non. La renommée de l’artiste est déjà bien assise puisque ce dernier décrit cette année-là Hubert Robert dans son Journal comme un « jeune Peintre de la plus grande Espérance et du premier Talent dans le genre de l’Architecture et des Ruînes ».


Le présent tableau en est une belle illustration : rendant hommage à la grandeur de la cité éternelle, Hubert Robert donne une image idéalisée d’une Italie au passé encore bien présent…