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analysed the painting as an example of how "pictoral assemblage" fundamentally is about "distributing identities and differences". He saw the composition of temple, women, statues and water as "a subtle transcendental network of identities", exalted by "figurative differences", which place the
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The painting depicts an imaginary location with contemporary visitors. It has decidedly modern elements, such as 18th-century French cloaks and hoods, a woman pointing at a statue like a tourist, and a pair of modern pink shoes belonging to a bather. The contemporary allusions make the nudity
273:. Badiou concluded that "the world" of the painting is the juncture between eighteenth-century eroticism and pre-romanticism. Finally, he used the correspondences between the statues and groups of women, and the foliage to the left and the clearing to the bottom left, to argue that
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statue at its centre. The ruined building is flanked by trees and has a set of stairs leading to a pool, where water flows from four fountains. The fountains furthest to the sides are decorated with statues: to the left one of a sitting Venus, and to the right one of
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fastening his sandals. A blurry group of six women in 18th-century clothes stand at the top of the stairs. To the bottom left, next to the Venus statue, a sitting woman dries her feet in front of a maid. In the pool two nude women play in the shallow water.
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French
Paintings in The Metropolitan Museum of Art from the Early Eighteenth Century through the Revolution
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atypical; 18th-century paintings normally restricted nudity to mythological and allegorical subjects.
232:. The central statue is based on an ancient model, and those on the sides are based on sculptures by
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from May 1912 and gifted to the museum by Morgan's estate in 1917. They were part of the exhibition
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Baillio, Joseph (1995). "Addendum to 'Hubert Robert's
Decorations for the Château de Bagatelle'".
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sold them at auction to
Jacques-Nicolas Brunot. Brunot sold them to Pierre Justin Armand Verdier,
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163:(1757–1836) commissioned from Robert in 1777. The paintings were for the bathing room at the
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Baillio, Joseph (1992). "Hubert Robert's
Decorations for the Château de Bagatelle".
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The statues of Venus and
Mercury are based on sculptures by Jean-Baptiste Pigalle.
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bought them through
Maurice de Verneuil. They were on loan from Morgan to the
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The six paintings remained at the Château de
Bagatelle until 1808, when
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236:(1714–1785). The woman drying herself follows a painting by
301:. They were at the Château de Flaux until 1910–1911, when
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The scene depicts an open woodland temple with an ancient
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167:. The six paintings depict generally Italian locations.
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The appearance of the temple is likely inspired by the
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137:. Originally commissioned for the bathing room at the
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The Ruins of Nîmes, Orange and Saint-Rémy-de-Provence
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executed between 1777 and 1780 by the French painter
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825:Paintings in the Metropolitan Museum of Art
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317:from 12 to 30 March 1912, lent by Morgan.
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240:(1703–1770). The nudes were inspired by
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173:A Corner of the Courtyard of the Capitol
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331:, one of the other paintings of the set
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141:, it is now in the collection of the
484:Logics of Worlds: Being and Event, 2
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732:Girls Dancing Around an Obelisk
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750:Principal Monuments of France
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156:is one of six paintings that
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611:Metropolitan Museum Journal
566:Metropolitan Museum Journal
511:Baetjer, Katharine (2019).
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295:Administration des Domaines
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815:Paintings by Hubert Robert
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519:Metropolitan Museum of Art
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361:Metropolitan Museum of Art
307:Metropolitan Museum of Art
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105:Metropolitan Museum of Art
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277:merely is a category of
32:Le Bassin aux baigneuses
179:Subject and composition
311:Ĺ’uvres d'Hubert Robert
230:San Pietro in Montorio
216:(then thought to be a
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131:oil-on-canvas painting
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86: in Ă— 48
16:Hubert Robert painting
773:Giovanni Paolo Panini
234:Jean-Baptiste Pigalle
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127:Le Bassin de baignade
242:Claude Joseph Vernet
214:Macellum of Pozzuoli
165:Château de Bagatelle
139:Château de Bagatelle
708:The Mouth of a Cave
417:, pp. 284–285.
328:The Mouth of a Cave
313:at Galerie Thos in
820:Paintings of Venus
767:René-Michel Slodtz
539:"The Bathing Pool"
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158:Charles Philippe,
145:in New York City.
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528:978-1-58839-661-7
517:. New York City:
501:978-0-8264-9470-2
256:In his 2006 book
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220:), and possibly
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558:Further reading
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303:J. P. Morgan
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266:Alain Badiou
264:philosopher
262:post-Marxist
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789:Romanticism
775:(influence)
703:(1777–1780)
572:: 149–182.
463:Badiou 2009
451:Badiou 2009
439:Badiou 2009
427:Badiou 2009
804:Categories
548:26 October
490:. London:
336:References
285:Provenance
149:Background
73:Dimensions
779:Capriccio
692:Paintings
647:193052442
631:0077-8958
602:193065876
586:0077-8958
492:Continuum
482:(2009) .
279:appearing
275:existence
226:Tempietto
96: in)
60:1777–1780
769:(master)
321:See also
291:Napoleon
248:Analysis
129:) is an
109:New York
101:Location
760:Related
639:1512954
617:: 103.
594:1512941
473:Sources
190:Mercury
91:⁄
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711:(1784)
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260:, the
212:, the
210:Tivoli
123:French
65:Medium
47:Artist
28:French
643:S2CID
635:JSTOR
598:S2CID
590:JSTOR
341:Notes
315:Paris
185:Venus
627:ISSN
582:ISSN
550:2019
523:ISBN
496:ISBN
57:Year
619:doi
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