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Museo Nacional Thyssen-Bornemisza, Madrid
Hubert Robert

Interior of the Temple of Diana at Nimes

Oil on canvas.
101 x 143 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
343
(
1978.43
)
ROOM 24
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
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Discover some of the secrets and details invaluable to the human eye in this work.
Views of classical buildings and ruins based on the drawings that the artist made during his lengthy time in Italy occupied an important place within Hubert Robert’s repertoire of subjects. These youthful sketches, which Robert subsequently used with variations in his paintings, gained him the nickname of “Robert des ruines”. Works of this type reflect the interest of certain sectors of 18th-century French society for archaeology and the ancient world. Such French lovers of antiquity had discovered the great remains in Italy and Greece but had largely ignored the ones to be found at home. In the last third of the century this situation changed and we witness the first efforts to record, draw, engrave and paint the temples and other structures that survived from antiquity in France. Falling within this context is the important publication designed by the Marquis de Laborde, Voyage pittoresque de la France, which was intended to comprise twelve volumes but of which only four were published. Hubert Robert was also interested in French classical antiquity and in 1783, eighteen years after his return from Italy, he embarked on a project to paint classical buildings in Provence. He focused on structures such as the Roman temple known as the Maison Carré, the Tour Magne, the Arènes, and the Temple of Diana, all in Nîmes, as well as the Pont du Gard between Avignon and Nîmes. It is not known who conceived of this project, which may have been Robert’s own idea or a commission.

Interior of the Temple of Diana at Nîmes is signed and dated 1783 and was formerly in a private collection in Paris. It was also in the Paris collection of Paul Cailleux and in the collection of Graf Finck von Finckenstein, before passing to the Carroll gallery in Munich from whom it was acquired in 1978 for the Thyssen-Bornemisza collection.

Using a high viewpoint Robert introduces us to the ruins of this temple, which are enlivened with a series of figures including a traveller, a busy artist seated on a block of stone and various figures wearing classical tunics who, in the case of the one on the right, seem to be acting out an episode to the public. We also see two men dressed as soldiers and in the background inside the temple two figures engaged in some sort of rite or ritual. The interior of the temple is crowded with fragments of columns that have been piled together for storage, as well as capitals, column bases and remains of pediments piled up and arranged, and tombstones leaning against the far wall. The spot is an ideal one for the curious observer, and Robert depicts two figures standing on the roof looking down on the scene and others peering out between the arcading.

Two drawings of the Temple of Diana are known, a wash, and a watercolour that forms a pair with a view of the Maison Carré. The Musée du Louvre has a version of the interior of the temple dated 1787 in which Robert has reduced the angle of vision on the right and in which he modifies the position of the architectural and sculptural fragments as well as the figures visiting the building. The present canvas has been paired with the Maison Carré in Nîmes, of which there are various versions. Among the best known is the painting in the Pavlovsk Palace Museum, St. Petersburg.

Mar Borobia
18th Century - French paintingPaintingOilcanvas
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Interior of the Temple of Diana at Nimes. Interior del templo de Diana en Nîmes, 1783
Interior of the Temple of Diana at Nimes
Hubert Robert

©

Museo Nacional Thyssen-Bornemisza, Madrid

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Interior of the Temple of Diana at Nimes. Interior del templo de Diana en Nîmes, 1783
Interior of the Temple of Diana at Nimes
Hubert Robert

©

Museo Nacional Thyssen-Bornemisza, Madrid

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