The Landing Place
Hubert Robert·1788
Historical Context
Robert's The Landing Place (1788) continues the decorative series with the image of a grand staircase descending to water — a subject combining architectural grandeur with the reflective and atmospheric qualities of water that Robert exploited throughout his decorative paintings. The staircase landing, a motif drawn from his study of ancient Roman architectural remains transformed by his imagination into an ideal past, creates an image of elevated social life — figures moving through a built environment of ceremonial beauty — that served both decorative and aspirational functions in the aristocratic interiors he furnished. The painting demonstrates his ability to create convincing architectural space that owes more to imagination than archaeology.
Technical Analysis
The monumental architecture creates a dramatic perspective recession toward the water. Robert's figures provide scale and animation, and the play of light on stone surfaces and water demonstrates his atmospheric mastery.
Provenance
Commissioned with its pendants (1900.382, 1900.383, 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. 1, to Durand-Ruel, acting on behalf of the Art Institute, with funds provided by Richard T. Crane, 1900.
