A delicate restoration process to preserve a fragile canvas for future generations.
One of the most insightful and instructive projects undertaken by the Belgian Art Institute was the study of a painting attributed to Theodore Robinson — a leading figure of American Impressionism, a close friend of Claude Monet, and a key contributor to the transformation of American painting at the end of the 19th century.
The painting was submitted to the Institute for scholarly analysis and expert evaluation as part of our program dedicated to the study of Impressionist painting. From the outset, its stylistic features and technical execution raised keen interest: the visual language of the work pointed to the mature Impressionist period of the 1890s, with characteristics close to those found in Robinson's works created in Giverny under the influence of Monet.
Historical and Artistic Context
Theodore Robinson lived in France from 1884 to 1892, spending most of his time in Giverny — a small Norman village that became an artistic colony around Claude Monet. Their relationship was not only personal but also creative: it is known that Monet offered Robinson advice on composition and was equally interested in Robinson's feedback on his own unfinished canvases.