Theme Europe+Britain

‘… forget style and tackle our stuff, for love. 
– Think more than you paint.’
John Russell to Roberts, c 1885

After studying at the National Gallery Schools, Melbourne, Roberts travelled to London in 1881 with the express intent of studying at the Royal Academy Schools. He established friendships with a number of fellow students, including the sculptor, Harry Bates, whom he depicted in The sculptor’s studio.

During the 1883 summer vacation, Roberts toured France and Spain with the artist John Russell and friends. In Granada, towards the end of this trip, Roberts met two young Spanish art students, Ramón Casas and Laureà Barreau, who encouraged him to paint a ‘direct sketch’ outdoors in front of the subject. While overseas, Roberts also visited Paris, and travelled to Venice 
where he looked at and was inspired by the works of Velásquez and Manet.

1903–23

‘… about my work – a great change has come … Have done a fair amount of outdoor work – Have often thought of your mantra – “you must put your love to the test”.’
Roberts to Frederick McCubbin, 1909

In 1903 Roberts returned to London to complete the Big Picture and remained there for about twenty years. In the paintings that he produced after 1903, Roberts focused on landscapes around his homes in London (at Putney and Golders Green), in addition to portraits, rare still lifes and nudes. Much of his work changed radically in size, towards a more domestic scale.

Roberts was overjoyed in 1910 when the Royal Academy gave Madame Hartl what he regarded as pride of place, putting it no 1 in the catalogue, and hanging it just above the line in the first room. In depicting Ruby Hartl in the spectacular Italianate costume of La Tornabuoni that she wore to the Chelsea Arts Club annual costume ball, he was in tune with the Edwardian fashion in portraiture, a fascination for fancy dress and for painting in a historical style.