Léopold Robert (1794-1835) Suiveur De : flag

Léopold Robert (1794-1835) Suiveur De :
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"Léopold Robert (1794-1835) Suiveur De : "
Léopold Robert (1794-1835) Follower From: "The return of the pilgrimage to the Madonna of the Arc" "Léopold ROBERT (1794-1835) Follower of: Large oil on canvas, frame gilded with gold leafPeriod: first part of the 19th centuryIn the prestigious setting of the Bay of Naples and following the shore of the Gulf, a joyful caravan returns from the legendary pilgrimage to the Madonna of the Arc. Every year, on the feasts of Pentecost, the Neapolitan population flocks to the venerated sanctuary, less perhaps to pray there than to make a gita in the countryside. However, that day, the gulf shines under the immaculate azure of the sky and the light vapor which rises from Vesuvius attests to the serene stillness of the air. The feast was certainly charming, because our pilgrims show a lot of enthusiasm. On the advancing cart, drawn by two oxen with golden horns and whose yoke is decorated with foliage, a young girl is seated, dressed in the traditional Neapolitan costume; in her right hand she holds a garlanded crook carrying a bouquet. Behind her, a young man, standing, leans slightly and takes her by the waist. Sitting next to her, a peasant woman tries to detach the banner from a bouquet carried by a singer in the front of the cart, next to a little musician. At the back, another eontadino, legs dangling, sings accompanied by the mandolin. Two children, on foot, precede the chariot, singing and dancing; one of them carries a thyrsus on his shoulder, the other strikes the string of a musical instrument, made of three wooden mallets. On the left, peasants come forward singing The Return of the Pilgrimage to the Madonna of the Arc painting by Léopold RobertThis amiable composition was part of a series of Seasons that Léopold Robert, in order to rejuvenate the subject, had designed in a very picturesque way. The Return of the Pilgrimage symbolized Spring. Another of his paintings, no less famous, represented Autumn: it is the Halte des Moissonneurs in the Marais-Pontins. To represent Winter, the painter, who was then in Venice, neglected the hackneyed subject of Carnival and gave the Departure of fishermen from the Adriatic for long-distance fishing. The tragic end of the unfortunate artist left the series unfinished. Leopold Robert enjoyed a great reputation during his lifetime, perhaps superior to his merit. His fame was subsequently much debated: he was criticized for his lack of inspiration, his indecision, his endless gropings, his dry outlines and his slightly rocky color. These criticisms are partly founded. Léopold Robert worked slowly, constantly returning to the character already made, erasing, resuming, erasing again. One of his paintings, like Corinne improvising at Cape Misene, was repeated a hundred times to finally become a Neapolitan improviser. Leopold Robert nevertheless possessed remarkable qualities: if he was indecisive and timid, in art as in his private life, he redeemed these defects by a passionate love of nature which imprints on all his paintings a grace, a naturalness, and even a spontaneity under which the effort of his gropings disappears. Painter of genre above all, his works did not take off much, but they are honest, conscientious and testify to a very developed sense of the picturesque. All his paintings are honorable; two of them, the Return of the Pilgrimage and the Halte des Moissonneurs, are masterpieces. Does it take more to illustrate a painter? When he exhibited his Halte des Moissonneurs in Paris, success was triumphant and, at the end of the Salon, the king himself attached the cross of the Legion of Honor on his chest Famous in France, Léopold Robert was no less famous in Italy, where most of his short existence passed. His successes won him the most flattering favors; he benefited from illustrious friendships which dazzled his candid soul and which brought drama to his life. He was in Florence when he was called to give lessons to Princess Charlotte Bonaparte, daughter of King Joseph, and wife of Louis Napoleon, older brother of the future Napoleon III. The princess was kind, friendly and familiar; she loved the artist's talent. In the intimacy of daily work and in the abandonment of friendly conversations, the poor painter, new Ruy-Blas, fell in love with his pupil, violently, and forever, "Earthworm in love with a star", he hid his passion from the princess, but deep in his heart he harbored the impossible hope that the daughter of kings would one day bow to him. In 1831, the death of Louis Napoleon seemed to bring him closer to his idol, but the latter, ignorant of the painter's feelings or pretending to ignore them, heard nothing "of the murmur of love raised in his footsteps", Léopold Robert then understood the immensity of his error, he measured the abyss which separated him from the princess. Disillusioned but not cured, he left Florence and came to hide in Ven
Price : 19500 €
Artist : Léopold Robert ( 1794-1835) Suiveur De :
Period:19th century
Style:Other Style
Condition : Très bon état

Material : Huile sur toile
Length: 97 cm avec cadre
Height : 72 cm avec cadre

Reference : 666242
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Léopold Robert (1794-1835) Suiveur De :
06 80 87 12 34
06 80 87 12 34


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