Ashdod - David Roberts
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Descripción
A detailed lithograph by David Roberts depicting the ancient city of Ashdod, featuring local figures and livestock in a sun-drenched, arid setting.
This lithograph depicts the ancient city of Ashdod, captured by David Roberts during his extensive travels through the Near East in the late 1830s. Roberts, a Scottish painter, gained recognition for his meticulous documentation of architectural sites and local customs across Egypt and the Holy Land. His work provided a visual record for a British public eager to understand these regions.
The composition focuses on a quiet scene in the foreground, where two figures rest amidst a small herd of goats. The arid, sun-drenched terrain stretches toward a distant, fortified structure near the water. Roberts employs a soft, muted palette to convey the heat and atmosphere of the region. His technique balances the precise rendering of the figures with a broader, more atmospheric treatment of the surrounding geography. The work is part of the larger series titled The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia, which was published between 1842 and 1849. These prints were produced by Louis Haghe, who translated Roberts' original watercolours into the lithographic medium with great technical skill.
Roberts' approach to this subject avoids overly dramatic staging, preferring a observational quality that documents the daily life of the inhabitants alongside the historical context of the site. The inclusion of the herd and the resting figures provides a sense of scale and human presence within the vast, open environment. This print offers a view into the mid-nineteenth-century perception of the Levant, reflecting the period's interest in historical geography and travel documentation. The clarity of the lines and the subtle tonal shifts demonstrate the high quality of the lithographic process employed for this publication.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
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- Manténgala en un lugar seco y a temperatura ambiente
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Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Ashdod - 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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