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LOUIS LEOPOLD ROBERT (1794-1835)

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Originally appearing in Volume V23, Page 403 of the 1911 Encyclopedia Britannica.
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LOUIS See also:LEOPOLD See also:ROBERT (1794-1835)  , See also:French painter, was See also:born at Chaux de Fonds (See also:Neuchatel) in See also:Switzerland on the 13th of May 1794, but See also:left his native See also:place with the engraver Girardet at the See also:age of sixteen for See also:Paris . He was on the See also:eve of obtaining the See also:grand prix for See also:engraving when the events of 1815 blasted his hopes, for Neuchatel was restored to See also:Prussia, and See also:Robert was struck off the See also:list of competitors as a foreigner . Whilst continuing his studies under Girardet he had never ceased to frequent the studio of See also:David, and he now determined to become a painter, and only returned to his native See also:country when his See also:master himself was exiled . At Neuchatel he attracted the See also:notice of Roullet de Mezerac, who enabled him by a timely See also:loan to proceed to See also:Rome . In depicting the customs and See also:life of the See also:people, of See also:southern See also:Italy especially, he showed See also:peculiar feeling for the See also:historical characteristics of their See also:race . After executing many detached studies of See also:Italian life Robert conceived the See also:idea of See also:painting four See also:great See also:works which' should represent at one and the same See also:time the four seasons in Italy and the four leading races of its people . In the " Return from the Fete of the Madonna dell' Arco " (Louvre) he depicted the Neapolitans and the See also:spring . This picture, exhibited at the See also:Salon of 1827, achieved undoubted success and was bought for the Luxembourg by See also:Charles X.; but the See also:work which appeared in 1831—the" Summer Reapers arriving in the Pontine Marshes " (Louvre), which became the See also:property of See also:Louis Philippe—established the artist's reputation . See also:Florence and her autumn vineyards should now have furnished him with his third subject . He attempted to begin it, but, unable to conquer his See also:passion for Princess See also:Charlotte See also:Napoleon (then See also:mourning the violent See also:death of her See also:husband, Robert's devoted friend), he threw up his work and went to See also:Venice, where he began and carried through the See also:fourth of the See also:series, the " Fishers of the Adriatic." This work was not equal to the " Reapers." Worn by the vicissitudes of painful feeling, and bitterly discouraged, Robert committed See also:suicide before his easel on the loth of See also:March 1835, on the tenth anniversary of the See also:melancholy suicide of a See also:brother to whom he had been much attached . See Villot, Notice See also:des tableaux du Louvre; C . See also:Blanc, Hist. des peintres; See also:Feuillet de Conches, Correspondance de L .

L . Robert; See also:

Julius See also:Meyer, Gesch. mod. fr . Malerei . ROBERT-See also:FLEURY, See also:JOSEPH See also:NICOLAS (1797-1890), French painter, was born at See also:Cologne . He was sent by his See also:family to Paris, and after travelling in Italy returned to See also:France and made his first See also:appearance at the Salon in 1824; his reputation, however, was not established until three years later, when he exhibited " See also:Tasso at the See also:Convent of St Onophrius." Endowed with a vigorous See also:original See also:talent, and with a vivid See also:imagination, especially for the tragic incidents of See also:history, he soon See also:rose to fame, and in 185o succeeded See also:Granet as member of the Academie des See also:Beaux-Arts . In 1855 he was appointed See also:professor and in 1863 director of the Ecole des Beaux-Arts, and in the following See also:year he went to Rome as director of the French See also:Academy in that See also:city . Among his See also:chief works are: " A See also:Reading at Mme. de See also:Sevigne's," " See also:Scene of St See also:Bartholomew," " See also:Henry IV. taken to the Louvre after his Assassination " (1836); " Triumphal Entry of See also:Clovis at See also:Tours " (1838), at the See also:Versailles Museum; " Le Colloque de See also:Poissy " (184o), at the Luxembourg Museum in Paris; " The See also:Children of Louis XVI. in the See also:Temple " (184o); " See also:Marino See also:Faliero "; " An Auto-da-fe," " Galileo before the See also:Holy See also:Office," at the Luxembourg Museum; " See also:Christopher See also:Columbus received by the See also:Spanish See also:Court " (1847), at the same See also:gallery; " The Last Moments of See also:Montaigne " (1853);' and " Charles V. in the Monastery of Yuste " (1857) . He died in Paris in 189o . His son, TONY ROBERT-FLEURY (1837- ), French painter, was born in Paris, and studied under his See also:father and under See also:Delaroche and See also:Leon Coignet . His first picture at the Salon, in 1866, was a large historical See also:composition of the " See also:Warsaw Massacres on See also:April 8, 1861." In the following year his " Old See also:Women in the Place Navone, Rome " was bought for the Luxembourg Museum, as was also the " Last See also:Day of See also:Corinth " in 1870 . In 188o he painted a See also:ceiling for the Luxembourg, representing " The Glorification of French See also:Sculpture." Tony Robert-Fleury became See also:president of the Societe des Artistes frangais in See also:succession to See also:Bouguereau . He acquired a great reputation for his historical compositions and portraits; and from his atelier have issued a great number of the best-known painters of our day .

End of Article: LOUIS LEOPOLD ROBERT (1794-1835)
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