Petra. El Deir - David Roberts
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Descrizione
A detailed watercolour study of the El Deir monument in Petra, captured by David Roberts during his 1839 expedition to the Near East.
David Roberts, a Scottish painter, travelled to the Near East in 1839 to document the ancient sites of Egypt and the Levant. His visit to Petra resulted in a series of detailed studies of the Nabataean city, including this depiction of El Deir, also known as the Monastery. Roberts captured the scale of the rock-cut architecture against the rugged terrain of the Jordanian desert.
The composition focuses on the facade of the monument, which is carved directly into the sandstone cliff. Roberts utilised a palette of ochre, sandy beige, and muted earth tones to convey the arid environment. In the foreground, small figures are included to provide a sense of scale, a common technique in nineteenth-century topographical art to help the viewer comprehend the massive proportions of the structure. The light falls across the facade, defining the columns and the pediment while casting soft shadows into the recesses of the rock.
This work was later lithographed by Louis Haghe for the publication 'The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia'. These prints were widely circulated in Britain, shaping the Victorian public perception of the Middle East. Roberts was known for his technical precision and his ability to balance architectural accuracy with the atmospheric conditions of the region. His work remains a primary visual record of these sites before modern archaeological intervention. The print captures the sense of isolation and the immense history embedded within the stone, presenting the monument as both a physical reality and a subject of romantic curiosity.
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Petra. El Deir - 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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