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早年

休伯特罗伯特出生于巴黎1733年在他的父亲，萨科罗伯特，是的服务弗朗索瓦·约瑟夫·德·舒瓦瑟尔，侯爵Stainville领先的外交官来自洛林。罗伯特·扬完成了他的研究与耶稣会士在法兰西学院纳瓦拉于1751年，进入雕塑家的工作室米歇尔-昂热Slodtz谁教他设计和观点，但鼓励他转向绘画。1754年，他在火车离开罗马艾蒂安·弗朗索瓦·德舒瓦瑟尔，他父亲的雇主的儿子，谁被任命为法国大使，并会成为国家的外交秘书路易十五在1758年。

在罗马

他在罗马的时间显着有多长完全11年; 之后，年轻的艺术家在官邸罗马法兰西学院跑了出来，他用他制作的访问像鉴赏家的作品支持自己神甫德圣非，谁把罗伯特那不勒斯在1760年4月访问的废墟庞贝。在侯爵马里尼的主任Bâtiments杜投资回报率能够跟上他在书信发展Natoire，法国科学院主管，谁敦促pensionnaires勾勒外的门，从性质：罗伯特无需催促; 从他的速写本图纸记录他的旅行：埃斯特别墅，卡普拉罗拉。

废墟之间的对比古罗马和他那个时代的生活激发了他极感兴趣。他的工作室工作了一段时间Pannini，其影响可以在可见的Vue imaginaire德拉GALERIE卢浮宫恩ruine。罗伯特把时间花在在公司的年轻艺术家的圈子Piranesi的，其随想曲浪漫杂草丛生的废墟的影响，他这么大大，他获得了绰号罗伯特·德ruines。草图和图纸，他在罗马组装的专辑他提供与他整个职业生涯中一直工作到绘画图案。

在巴黎

他在他返回巴黎在1765年的成功是迅速的：次年，他被接收的法兰西皇家PEINTURE等德的雕塑，与罗马随想曲，罗马的港口，建筑，古今不同的古迹装饰罗伯特的第一个展览在1767沙龙，由十三画作和一些图纸，促使狄德罗写的：“这在我清醒的废墟盛大的想法。” 罗伯特随后显示的工作在每一个沙龙直到1802 他相继担任，国王的图片的守护者“和”博物馆和委员对学院“守护者”国王的花园设计师“。

罗伯特的过程中于1793年十月被捕，法国大革命。在十个月他在圣Pélagie和Saint-Lazare他提出了许多图纸拘留，画至少53画布，并画上板的监狱生活中无数的护身符。他一个星期的下跌后释放罗伯斯庇尔。罗伯特险遭断头台时，通过错误另一名犯人在他的地方死了。

随后，他被放在五个负责新国家博物馆在该委员会卢浮宫。

革命也导致一些罗伯特工作的破坏。罗伯特曾设计的装饰品在当前楼梯加布里埃尔中的位置，在新翼小剧场凡尔赛宫。专为500座，这个剧院是从1785年夏天建成并于1786年年初开业它的目的是作为一个普通的宫廷剧院，取代了王子法院这是太旧，太小的剧院，但被摧毁在时间路易·菲利普。一个水彩画罗伯特的设计是在国家档案馆在巴黎。

罗伯特死于中风在1808 4月15日。

风格和传统

他的作品的数量是巨大的，包括大约1000名绘画十一万图纸。在卢浮宫单独包含九个画作他的手和标本经常与省级博物馆和私人收藏得到满足。罗伯特的作品有或多或少的风景人物而正当他的选择由伏尔泰在费内画他剧院的装饰。

他的工作多由刻神甫德圣非，与他曾访问那不勒斯在公司弗拉戈纳尔在他早期的天; 在意大利他的作品也被频繁地查特莱兰，Linard，转载乐Veau，等等。

他指出，为生机与点与他对待他画的主题。随着这种不断的活动作为一个艺术家，他大胆的性格和许多冒险了普遍钦佩和同情。在他的第四个篇章L'想象 雅克Delille庆祝罗伯特奇迹般逃生的地下墓穴丢失。

罗伯特和风景如画的花园

进取，多产，罗伯特也演过类似一个现代艺术总监的角色，概念化了几个贵族客户，由他可能的干预总结时髦破旧花园埃尔芒翁维尔 ; 在那里，他就一直在与建筑师羊肚菌为侯爵吉拉尔丹，谁是笔者成分DES PAYSAGES（1777），并有自己的截然不同的意见。1786年，他开始了自己更好地记录的合作梅雷维尔，用他最显著靠山，金融家让·约瑟夫·拉博德，谁发现弗朗索瓦·约瑟夫·贝朗格的计划太昂贵，也许太正式。

虽然文件再次欠缺，休伯特罗伯特的名字总是与连接援引玛丽·安托瓦内特的'总理architecte“ 理查德Mique通过建立在一个非正式的山水园林的几个阶段小特里亚农和的设置叫小Hameau酒店。罗伯特的贡献园林设计是不是在做实际地计划改进，但在拟议效果提供大气的灵感。在埃尔芒翁维尔，在梅雷维尔“休伯特罗伯特的画作均录和灵感”，根据WH·亚当斯：罗伯特的四个大毁灭的幻想，绘于1787年的梅雷维尔可能白白地搜索与花园直接连接。那位朋友的冰臼乔利的休伯特的画作克劳德-亨利Watelet渲染，因为1754年他的一套画了小事6意大利风格的景观板是已经正在进行的是一个花园的完全成长氛围是不是正规的灵感草皮花坛在减薄林地，由贝朗格设计设置; 小事后来风景如画的扩展名由苏格兰的园丁，威廉Blaikie进行。罗伯特的委托在公园的拖延已久的复兴绘画凡尔赛宫，于1774年开始与切割销售为柴树下来，是时，共振与寓言意义的记录。罗伯特更加肯定负责岩洞和级联'阿波罗浴场'城堡的公园的树林里藏和建房子的概念弗朗索瓦Girardon的著名雕塑群由若虫出席阿波罗。

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Early years

Hubert Robert was born in 1733 in Paris in the service of his father, Sarkozy Robert, Francois Josef de schuwasser, Marquis steinville's leading diplomat from Lorraine. Robert Young completed his research with Jesuits at the French Academy of Navarra in 1751, entering sculptor's studio Michel ange slodtz who taught him design and ideas, but encouraged him to turn to painting. In 1754, he left Rome on a train by Etienne Francois de schuwasser, the son of his father's employer, who was appointed ambassador of France and would become the country's foreign secretary Louis XV in 1758.

In Rome

His time in Rome was significantly longer than 11 years; after that, young artists ran out at the French Academy in Rome, the official residence, and he used the works of his visiting artists like connoisseurs to support his priest de Santa Fe, who brought Robert Naples to the ruins of Pompeii in April 1760. In Marquis Marini's director, B? Timents Du, the rate of return on investment was able to keep up with his development in letters at Natoire, the director of the French Academy of Sciences, who urged pensonnaires to outline the door outside, from the nature: Robert did not need to be urged; from his sketches this drawing records his journey: Villa Este, kapura.

He was intrigued by the contrast between the ruins of ancient Rome and the life of his time. His studio worked for a while at Pannini, whose influence can be seen in Vue imaginaire della Galerie Louvre, enruine. Robert spent time in the company's circle of young artists Piranesi, whose Capriccio romantic weed infested ruins influenced him so much that he got the nickname Robert deruines. Sketches and drawings, his album assembled in Rome, he offers drawings with his entire career working all the way to drawing.

In Paris

His success in his return to Paris in 1765 was rapid: the next year, he was received by the French royal peinture and other German sculptures, and the Roman caprice, the Roman port, architecture, ancient and modern different monuments decoration Robert's first exhibition in 1767 salon, by thirteen paintings and some drawings, prompted Diderot to write: "this is a grand idea in my sober ruins." Robert then showed work in every salon until 1802, when he successively served as the guardian of the king's picture "and" the museum and the Commissioner to the academy "the guardian" of the king's garden designer. ".

Robert was arrested during the French Revolution in October 1793. In ten months he was in St. P é lagie and Saint Lazare, where he put forward many drawings for detention, painted at least 53 canvases and painted countless talismans in prison life on the board. He fell a week after releasing Robespierre. When Robert was near the guillotine, another prisoner died in his place by mistake.

Later, he was placed in charge of five new national museums at the Commission's Louvre.

The revolution also led to the destruction of some of Robert's work. Robert designed the decorations in the current staircase in Gabriel's location, in the new wing theater Versailles Palace. Designed for 500 seats, this theater was built in the summer of 1785 and opened in early 1786. Its purpose is to replace the prince's court as an ordinary court theater, which is too old and too small, but was destroyed in time by Louis Philippe. A watercolor painting designed by Robert is in the National Archives in Paris.

Robert died of a stroke on April 15, 1808.

Style and tradition

The number of his works is huge, including about 1000 paintings and 100000 drawings. The Louvre alone contains nine paintings of his hands and specimens often met with provincial museums and private collections. Robert's work has more or less landscape figures and just as he chose Voltaire to paint the decorations of his theater in Fenet.

Most of his work was done by priest de Santa Fe, with whom he had visited Naples in the company of Fragonard in his early days; in Italy his works were also frequently transcribed by chateland, linard, Veau, and so on.

He pointed out that for vitality and point with his treatment of the theme of his painting. With this constant activity as an artist, his bold character and many adventures gained universal admiration and sympathy. In his fourth chapter, l'imagines Jacques Delille celebrating the loss of Robert's miraculous escape from the catacombs.

Robert and the picturesque garden

Enterprising and prolific, Robert also played the role of a modern art director, conceptualizing several noble clients, summarizing the fashionable and shabby garden El mansonville by his possible intervention; there, he has always been with the architect Morchella as Marquis gilardian, who is the author of the composition des payages (1777), and has his own different opinions. In 1786, he began a better record of his cooperation with mereville, using his most prominent backer, Financier Jean Josef labour, who found Francois Josef Belanger's plan too expensive, perhaps too formal.

Despite the lack of documentation again, Robert Hubert's name is always associated with the quote from Mary Antoinette's' prime minister architect 'Richard mique through the establishment of a few stages in an informal landscape garden called the little hameau hotel. Robert's contribution to landscape design is not to make actual planned improvements, but to provide atmospheric inspiration in the proposed effect. In El mansonville, "Robert Hubert's paintings are recorded and inspired" in mereville. According to wh Adams: Robert's four visions of great destruction, mereville painted in 1787 may be white