View of Nazareth - David Roberts
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Beschreibung
A detailed 1839 lithograph by David Roberts depicting the town of Nazareth, captured during his travels through the Near East.
David Roberts, a Scottish painter, travelled extensively through the Near East between 1838 and 1839. This work, View of Nazareth, originates from his extensive documentation of the region. Roberts produced a series of sketches during his journey, which were later transformed into lithographs by Louis Haghe. These prints were published in the multi-volume work, The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia.
The composition presents a panoramic perspective of the town of Nazareth. The artist employs a warm, golden palette to capture the arid terrain and the specific quality of light found in the Levant. In the foreground, a figure with livestock provides a sense of scale, drawing the eye towards the town nestled within the valley. The architecture, including the prominent minaret, is rendered with precise attention to detail, reflecting the artist's background as a scene painter for theatres. The surrounding hills are depicted with soft, sweeping washes, creating a sense of distance and atmospheric depth.
Roberts was one of the first professional British artists to visit these sites with the specific intention of recording them for a European audience. His work provided many people in the nineteenth century with their primary visual reference for these locations. The lithographic process allowed for the wide dissemination of these images, influencing how the region was perceived by the public. This print captures the quiet, rural character of Nazareth before the significant urban expansion of the twentieth century. It remains a record of the topography and architectural features of the period, executed with the technical skill that defined the collaboration between Roberts and Haghe.
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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
View of Nazareth - 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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