The Obelisk
Hubert Robert·1787
Historical Context
Robert's The Obelisk (1787) at the Art Institute depicts an ancient obelisk — perhaps derived from the Roman monuments he had studied in situ — as a focal point for an architectural fantasy. The obelisk, with its associations of Egyptian antiquity filtered through Roman appropriation, had become a standard element of the neoclassical visual vocabulary that Robert helped define. His use of the obelisk as a compositional accent — its vertical emphasis contrasting with the horizontal spread of the surrounding ruins — reflects his compositional intelligence as well as his archaeological knowledge. The work belongs to the decorative series that demonstrates Robert's ability to organize multiple classical motifs into coherent, visually satisfying architectural landscapes.
Technical Analysis
The obelisk's geometric form provides a strong vertical accent in the pastoral landscape. Robert's characteristic warm palette and atmospheric handling of sky and foliage create a harmonious setting for the ancient monument.
Provenance
Commissioned with its pendants (1900.382, 1900.384, 1900.385) by Jean Joseph, marquis de Laborde (died 1794), in 1787 for the Château de Méréville (near Etampes); the château was sold by Mme de Laborde, 1819 [see Simone de Lassus, “Quelques Détails inédits sur Méréville,” Bulletin de la Société de l’histoire de l’art français, année 1976 (1978), p. 286 n. 1]; the château was owned successively by: M. Ters and Mme d’Espagnat (sold 1824); comte de Saint-Roman (sold 1866); duc de Sessa (sold 1868); M. and Mme Beleys (sold 1869); la Société Cail (sold 1874); M. Heddle (sold 1889); Adam Natanson (sold 1890); M. Hériot (sold 1896); Prudent Carpentier (sold 1897, at which time the contents of the house were dispersed and the paintings probably sold) [See Simone de Lassus 1978, cited above; a letter from Bernard Binvel to Susan Wise dated May 5, 1987 states, perhaps erroneously, that Hériot sold the paintings in July of 1896]. M. L. François; sold Galerie George Petit, Paris, June 13, 1900, no. 4, to Durand-Ruel, acting on behalf of the Art Institute, with funds provided by Clarence Buckingham, 1900.
