Drawing
10/07/1764 (made)
Artist/Maker |
Drawing of the Circus, Bath, during its construction, by Thomas Robins. The Circus is one of Bath's finest examples of Georgian architecture. It was designed by the architect John Wood the Elder in 1754 and completed by his son John Wood the Younger in 1768.
Thomas Robins is an enigmatic artist and, so far, little has been discovered of his life. He may be descended from the family of Robins who held the manor of Matson. He published a Prospect of Bath in 1757 and A View of the Baths and Pump Room in 1764. His son Thomas Robins the Younger was a drawing master.
Between 1747 and 1770, Robins produced a series of drawings and paintings of English country houses and, in particular, their gardens. His surviving drawings and paintings epitomise English rococo taste. Robins was either specially attracted to rococo gardens, or had a reputation for the delineation of such gardens in the circles of cognoscenti of the rococo.
Robins and his work are of significant interest both topographically and aesthetically. His pictures of rococo gardens, with their vistas and ornamental buildings, are of great historical importance because they immortalise a fashion whose exemplars have disappeared. Robins, who was in many respects an 'amateur' painter, never succumbed to conventional facility and his views retain the charm and freshness of a personal discovery.
Thomas Robins is an enigmatic artist and, so far, little has been discovered of his life. He may be descended from the family of Robins who held the manor of Matson. He published a Prospect of Bath in 1757 and A View of the Baths and Pump Room in 1764. His son Thomas Robins the Younger was a drawing master.
Between 1747 and 1770, Robins produced a series of drawings and paintings of English country houses and, in particular, their gardens. His surviving drawings and paintings epitomise English rococo taste. Robins was either specially attracted to rococo gardens, or had a reputation for the delineation of such gardens in the circles of cognoscenti of the rococo.
Robins and his work are of significant interest both topographically and aesthetically. His pictures of rococo gardens, with their vistas and ornamental buildings, are of great historical importance because they immortalise a fashion whose exemplars have disappeared. Robins, who was in many respects an 'amateur' painter, never succumbed to conventional facility and his views retain the charm and freshness of a personal discovery.
Object details
Object type | |
Materials and techniques | Pen and ink and pencil on paper |
Brief description | Drawing of Bath circus during construction, '15 July, 1754', by Thomas Robins |
Physical description | Unfinished sketch of Bath circus during construction, on paper, in pen and ink and pencil. 'No 49' is written in brown ink in the bottom right hand corner and it is dated 'July 15 1764.' The drawing is in a landscape format and attached to one page of the album. |
Credit line | Accepted by H M Government in lieu of Inheritance Tax and allocated to the Victoria & Albert Museum, 2000 |
Summary | Drawing of the Circus, Bath, during its construction, by Thomas Robins. The Circus is one of Bath's finest examples of Georgian architecture. It was designed by the architect John Wood the Elder in 1754 and completed by his son John Wood the Younger in 1768. Thomas Robins is an enigmatic artist and, so far, little has been discovered of his life. He may be descended from the family of Robins who held the manor of Matson. He published a Prospect of Bath in 1757 and A View of the Baths and Pump Room in 1764. His son Thomas Robins the Younger was a drawing master. Between 1747 and 1770, Robins produced a series of drawings and paintings of English country houses and, in particular, their gardens. His surviving drawings and paintings epitomise English rococo taste. Robins was either specially attracted to rococo gardens, or had a reputation for the delineation of such gardens in the circles of cognoscenti of the rococo. Robins and his work are of significant interest both topographically and aesthetically. His pictures of rococo gardens, with their vistas and ornamental buildings, are of great historical importance because they immortalise a fashion whose exemplars have disappeared. Robins, who was in many respects an 'amateur' painter, never succumbed to conventional facility and his views retain the charm and freshness of a personal discovery. |
Collection | |
Accession number | E.1308:49-2001 |
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Record created | March 21, 2001 |
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