Abstract
This short study considers the artist Hubert Robert’s Imaginary View of the Grande Galerie in the Louvre in Ruins and Design for the Grande Galerie in the Louvre, a pair of pendants that were exhibited at the 1796 Salon du Louvre and are now part of the national museum’s permanent collection. Robert’s thought-provoking display explored the formation of the national collection at the Louvre as part of the broad spectrum of revolutionary iconoclasm. This article examines Robert’s contribution to emerging debates about patrimoine and his professional role working as keeper for the Louvre in relation to the production and exhibition of the views representing the museum. It proposes that while various interpretations were plausible, Robert presented his views of the Louvre’s transformation from a royal palace into a republican museum as a process characterized by creation and destruction.
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