The Architectural Fantasy by Hubert Robert was painted during a period of time in France that was very pivotal. Painted within 20 years of the fall of the French monarchy during the rise of Napoleon, Architectural Fantasy reflects the former works of Hubert Robert while also depicting a slight change in subject matter. Although the painting is of a building, it evokes qualities of a landscape painting with its broad views. Romantic paintings from this era were defined by their use of light and color to convey emotion. Another aspect of Romantic works was that the scenes were often glorified to depict a more beautiful and perfect world than the present one. Romanticism was a way for the painter to show the world how they wanted it to be seen
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Robert sought to perfect the idea of perspective when he created over one hundred drawings that give insight into how he created his works. Due to his works being largely derived from his own mind, Robert had no reference to make sure a building was proportioned correctly. Many of his drawings are of a person sitting on a swing as it glides through a doorway. These drawings were created as early as his time in Rome and were replicated all the way until the creation of the Architectural Fantasy in 1802. If the motif of his early drawings was laid over the Architectural Fantasy, the perspective lines would be nearly identical. The Swing Through the Door (Fig. 5 in Cailleux to be specific because all drawing titles are the same) shares the closest resemblance to the painting due to the lower viewing angle. Robert clearly is making references to his former ideas when he paints the Architectural Fantasy. He also uses the motif in Architectural Capriccio with Bridge and Triumphal Arch. This painting is nearly identical to the work at the RISD museum but this painting clearly depicts a ruined structure. The Architectural Capriccio with Bridge and Triumphal Arch was painted nearly thirty-five years prior to the Architectural Fantasy although being nearly identical at first glance. Robert also continues to set his perspective from a point other than the center. He does not create works that are overtly symmetrical and instead opts for balance. This is true for his works before and after the French Revolution. Robert retains his typical compositional elements throughout his career and clearly utilizes forms that he created early on in his career to influence works in the latter portion of his
Robert sought to perfect the idea of perspective when he created over one hundred drawings that give insight into how he created his works. Due to his works being largely derived from his own mind, Robert had no reference to make sure a building was proportioned correctly. Many of his drawings are of a person sitting on a swing as it glides through a doorway. These drawings were created as early as his time in Rome and were replicated all the way until the creation of the Architectural Fantasy in 1802. If the motif of his early drawings was laid over the Architectural Fantasy, the perspective lines would be nearly identical. The Swing Through the Door (Fig. 5 in Cailleux to be specific because all drawing titles are the same) shares the closest resemblance to the painting due to the lower viewing angle. Robert clearly is making references to his former ideas when he paints the Architectural Fantasy. He also uses the motif in Architectural Capriccio with Bridge and Triumphal Arch. This painting is nearly identical to the work at the RISD museum but this painting clearly depicts a ruined structure. The Architectural Capriccio with Bridge and Triumphal Arch was painted nearly thirty-five years prior to the Architectural Fantasy although being nearly identical at first glance. Robert also continues to set his perspective from a point other than the center. He does not create works that are overtly symmetrical and instead opts for balance. This is true for his works before and after the French Revolution. Robert retains his typical compositional elements throughout his career and clearly utilizes forms that he created early on in his career to influence works in the latter portion of his