Winter With Roses French Oil on Canvas Metropolitan Museum of Art Gift of J Pierpont Morgan
| The Bathing Pool | |
|---|---|
| French: Le Bassin aux baigneuses | |
 | |
| Artist | Hubert Robert |
| Year | 1777–80 |
| Medium | Oil on sheet |
| Dimensions | 174.6 cm × 123.8 cm (68 3⁄4 in × 48 iii⁄iv in) |
| Location | Metropolitan Museum of Art, New York City |
The Bathing Pool (French: Le Bassin aux baigneuses) is a 1777–80 oil-on-sheet painting by the French painter Hubert Robert. Originally commissioned for the bathing room at the Château de Bagatelle, information technology is now in the collection of the Metropolitan Museum of Art in New York City.
Background [edit]
The Bathing Pool is 1 of 6 paintings that Charles Philippe, comte d'Artois (1757 – 1836) commissioned from Robert in 1777. The paintings were for the bathing room at the Château de Bagatelle.[1] The six paintings depict generally Italian locations. The Bathing Pool, dated to 1777–80, was fabricated as a pendant to A Corner of the Courtyard of the Capitol.[2]
Subject and composition [edit]
The scene depicts an open woodland temple with an aboriginal Venus statue at its middle. The ruined building is flanked by trees and has a set of stairs leading to a pool, where h2o flows from four fountains. The fountains furthest to the sides are decorated with statues: to the left one of a sitting Venus, and to the right one of Mercury fastening his sandals. A blurry group of six women in 18th-century clothes stand up at the tiptop of the stairs. To the bottom left, side by side to the Venus statue, a sitting woman dries her feet in front end of a maid. In the pool 2 nude women play in the shallow h2o.[1]
The statues of Venus and Mercury are based on sculptures past Jean-Baptiste Pigalle.
The advent of the temple is likely inspired by the Temple of Vesta in Tivoli, the Macellum of Pozzuoli (then idea to be a temple of Jupiter Serapis), and maybe Donato Bramante's Tempietto at San Pietro in Montorio.[two] The central statue is based on an ancient model, and those on the sides are based on sculptures past Jean-Baptiste Pigalle (1714 – 1785).[1] The woman drying herself follows a painting past François Boucher (1703 – 1770).[3] The nudes were inspired by Claude Joseph Vernet (1714 – 1789), who had populated timeless Italian marine views with nude women.[4]
Assay [edit]
The painting depicts an imaginary location with contemporary visitors. It has incomparably modern elements, such equally 18th-century French cloaks and hoods, a woman pointing at a statue like a tourist, and a pair of modern pink shoes belonging to a bather. The contemporary allusions make the nudity atypical; 18th-century paintings normally restricted nudity to mythological and allegorical subjects.[5]
In his 2006 book Logics of Worlds, the post-Marxist philosopher Alain Badiou analysed the painting as an example of how "pictoral assemblage" fundamentally is near "distributing identities and differences".[half dozen] He saw the composition of temple, women, statues and water as "a subtle transcendental network of identities", exalted by "figurative differences", which place the painting in the genre of neoclassicism.[7] Badiou ended that "the globe" of the painting is the juncture between eighteenth-century eroticism and pre-romanticism.[eight] Finally, he used the correspondences between the statues and groups of women, and the leafage to the left and the clearing to the bottom left, to argue that existence merely is a category of actualization.[9]
Provenance [edit]
The six paintings remained at the Château de Bagatelle until 1808, when Napoleon's Administration des Domaines sold them at auction to Jacques-Nicolas Brunot. Brunot sold them to Pierre Justin Armand Verdier, comte de Flaux. They were at the Château de Flaux until 1910–1911, when J. P. Morgan bought them through Maurice de Verneuil. They were on loan from Morgan to the Metropolitan Museum of Art from May 1912 and gifted to the museum by Morgan's estate in 1917.[one] They were office of the exhibition Œuvres d'Hubert Robert at Galerie Thos in Paris from 12 to thirty March 1912, lent by Morgan.[iv]
See also [edit]
- The Mouth of a Cave, i of the other paintings of the fix
References [edit]
Notes [edit]
- ^ a b c d Metropolitan Museum of Art.
- ^ a b Baetjer 2019, p. 282.
- ^ Baetjer 2019, p. 284.
- ^ a b Baetjer 2019, p. 285.
- ^ Baetjer 2019, pp. 284–285.
- ^ Badiou 2009, p. 204.
- ^ Badiou 2009, p. 205.
- ^ Badiou 2009, p. 207.
- ^ Badiou 2009, p. 208.
Sources [edit]
- Badiou, Alain (2009) [2006]. Logics of Worlds: Being and Effect, 2. Translated past Toscano, Alberto. London: Continuum. ISBN978-0-8264-9470-2.
- Baetjer, Katharine (2019). French Paintings in The Metropolitan Museum of Art from the Early Eighteenth Century through the Revolution. New York City: Metropolitan Museum of Art. ISBN978-1-58839-661-7.
- "The Bathing Pool". Metropolitan Museum of Fine art. Retrieved 26 October 2019.
Further reading [edit]
- Baillio, Joseph (1992). "Hubert Robert'due south Decorations for the Château de Bagatelle". Metropolitan Museum Journal. 27: 149–182. doi:10.2307/1512941. ISSN 0077-8958. JSTOR 1512941. S2CID 193065876.
- Baillio, Joseph (1995). "Addendum to 'Hubert Robert'south Decorations for the Château de Bagatelle'". Metropolitan Museum Periodical. 30: 103. doi:10.2307/1512954. ISSN 0077-8958. JSTOR 1512954. S2CID 193052442.
Source: https://en.wikipedia.org/wiki/The_Bathing_Pool
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