Washerwomen In A Roman Architecture
Washerwomen In A Roman Architecture c1804 by French Painter Huberto Roberto (1733 – 1808), who specialized in creating artwork of the Rococo, Neoclassicismo, Romanticism, Realismo, and Renaissance styles.
Washerwomen In A Roman Architecture is a retouched digital art old masters reproduction of a public domain image.
Informações abaixo derivadas de Wikipédia.org
Hubert Robert was born in Paris in 1733. His father, Nicolas Robert, was in the service of François-Joseph de Choiseul, marquis de Stainville a leading diplomat from Lorraine. Young Robert finished his studies with the Jesuits at the Collège de Navarre in 1751 and entered the atelier of the sculptor Michel-Ange Slodtz who taught him design and perspective but encouraged him to turn to painting. Em 1754 he left for Rome in the train of Étienne-François de Choiseul, son of his father’s employer, who had been named French ambassador and would become a Secretary of State for Foreign Affairs to Louis XV in 1758.
He spent fully eleven years in Rome, a remarkable length of time; after the young artist’s official residence at the French Academy in Rome ran out, ele se sustentou com obras que produziu para conhecedores visitantes como o abade de Saint-Non, que levou Robert para Nápoles em abril 1760 visitar as ruínas de Pompéia. O Marquês de Marigny, diretor dos Bâtiments du Roi manteve-se a par de seu desenvolvimento em correspondência com Natoire, diretor da Academia Francesa, que instou os pensionistas a esboçarem ao ar livre, da natureza: Robert não precisava de incentivo; desenhos de seus cadernos documentam suas viagens: Villa d'Este, Caprarola.
Vista do porto de Rippeta em Roma, c. 1766, mostrando o antigo Panteão Romano próximo a um porto imaginário
The contrast between the ruins of ancient Rome and the life of his time excited his keenest interest. He worked for a time in the studio of Pannini, whose influence can be seen in the Vue imaginaire de la galerie du Louvre en ruine (illustration). Robert spent his time in the company of young artists in the circle of Piranesi, whose capricci of romantically overgrown ruins influenced him so greatly that he gained the nickname Robert des ruines.[2] The albums of sketches and drawings he assembled in Rome supplied him with motifs that he worked into paintings throughout his career.