The Facade of the Khasne, Petra - David Roberts
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Descrizione
A detailed watercolour study of the Al-Khazneh at 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 architecture and topography of the region. This work depicts the Al-Khazneh, or The Treasury, at Petra in modern-day Jordan. Roberts utilised a precise, observational approach to capture the Hellenistic architectural elements carved directly into the sandstone cliff face. His technique involves a delicate application of watercolour, allowing the warm, ochre tones of the rock to define the atmosphere of the site.
The composition focuses on the scale of the structure relative to the human figures in the foreground. By placing a small figure near the entrance, Roberts provides a sense of the immense height and depth of the canyon walls. The light filters into the narrow gorge, creating soft shadows that model the columns and statuary of the facade. This piece is part of a larger series of lithographs published after his travels, which introduced many European audiences to the archaeological sites of the Levant.
Roberts was known for his ability to balance technical accuracy with a sense of place. His work avoids excessive romanticisation, opting instead for a clear, measured representation of the site as he encountered it. The textures of the weathered stone are rendered with fine brushwork, showing the erosion and geological character of the canyon. This print captures the stillness of the location, presenting the monument as a silent witness to history. It remains a significant record of the site before modern tourism altered the environment, offering a view of Petra that is both documentary and aesthetic in its execution.
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The Facade of the Khasne, Petra - 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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