Portion of the Eastern Portico, Baalbec - David Roberts
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Beschreibung
A detailed watercolour study by David Roberts depicting the ancient Roman ruins of the Eastern Portico at Baalbec, captured during his 1839 travels.
David Roberts, a Scottish painter known for his meticulous documentation of Near Eastern architecture, produced this study during his extensive travels in 1839. The work depicts the ruins of the Eastern Portico at Baalbec, a site that captured the imagination of many nineteenth-century European artists. Roberts utilised his training as a scene painter to balance the grand scale of the Roman columns with the human element of local figures resting among the fallen masonry.
The composition employs a clear, light-filled palette to define the weathered stone surfaces. Roberts focuses on the contrast between the upright, surviving columns and the fragmented blocks scattered across the foreground. His technique involves precise washes of colour to suggest the texture of ancient limestone, while the shadows cast by the portico provide a sense of depth and structure. The figures in the foreground, dressed in traditional attire, provide a sense of scale and suggest the contemporary context of the site during the mid-nineteenth century.
This piece is representative of the broader interest in archaeological discovery that defined the period. Roberts avoided romanticised excess, preferring instead to record the physical reality of the site with accuracy. His work was later reproduced as lithographs, which helped to disseminate images of these remote locations to a wider audience in Britain. The print captures the clarity of the original watercolour, preserving the subtle tonal shifts and the architectural precision that define Roberts's approach to topographical art. It remains a record of the site as it appeared before further restoration efforts altered its state.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Portion of the Eastern Portico, Baalbec - David Roberts
Artist Biography
David Roberts
In 1838 he sailed for Egypt and spent the next two years travelling through the Middle East, filling sketchbooks with drawings of temples, mosques, ruins and desert landscapes that almost no British artist had recorded before. To enter the mosques he had to shave off his sideburns, leave his hog-hair brushes behind (the pig being unclean), and wear traditional Arab clothing while he worked. He was one of the first Europeans allowed to paint inside a mosque.
The sketches became The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia, a series of 247 lithograph plates produced in collaboration with the printer Louis Haghe between 1842 and 1849. He funded the project through advance subscriptions, soliciting them personally. Queen Victoria was subscriber number one. Her complete set is still in the Royal Collection.
The lithographs gave Europeans their first detailed visual record of the ancient Near East. They were bought as art, used as reference by scholars, and shaped the Western imagination of Egypt and Palestine for the rest of the century.
His personal life was less composed. His wife Margaret became an alcoholic and in 1831 he sent her back to Scotland to be cared for by friends. He raised their daughter Christine largely alone. He was elected to the Royal Academy in 1841, a considerable achievement for a man who had started painting houses, and worked steadily until his death in 1864.
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