David Roberts was one of the most accomplished artists of the Victorian era. Born in Stockbridge, Edinburgh, in 1796, his relatively humble origins meant that his early artistic promise was initially channelled into a profession that might supply him with a steady income - that of house painting.
During this period, it was a role that demanded considerable skill and creativity, popularising the use of optical illusions and trompe l’oeil within interiors. Painters were required to mimic the appearance of woodwork, marble, fabric and intricate plasterwork with precision. Roberts, far more than an “Auld Reekie Slusher,” formed part of these revolutionary developments in decorative design.
This grounding in interiors served him well, and he swiftly added further accomplishments to his repertoire. Following in the path forged by Alexander Nasmyth before him, Roberts became renowned for his forays into architectural design, as well as a long-standing career as a theatrical set painter between 1816 and 1830. Wearing his architect’s hat, he narrowly missed out on the commission to design the Scott Monument in Edinburgh, though some elements of his proposal were carried through.
Before long, Roberts was established as a successful artist in London and was frequently called upon to give expert advice to the government in both artistic and architectural matters, including the decoration of the New Palace of Westminster, and to judge competition entries for the new Public Offices in Whitehall. A passionate preservationist, he also campaigned for the protection of historic sites such as John Knox’s House on Edinburgh’s Royal Mile and Roslin Chapel in Midlothian.
Despite this breadth of activity, Roberts is best remembered for his work as an artist-topographer. Following journeys through Europe, Roberts undertook his most ambitious tour in 1838, travelling through Egypt, Sinai, Petra and the Holy Land, arriving in Jerusalem in 1839.
From the drawings and watercolours he produced on this journey, Roberts created his celebrated series of detailed lithographs depicting Egypt and the Near East. On his return to Britain, he collaborated with the eminent lithographer Louis Haghe to produce The Holy Land and Syria (1842–1849) and Egypt & Nubia, a project Roberts funded through advance subscriptions. With Egypt and the Holy Land immensely fashionable subjects at the time, Queen Victoria herself became subscriber number one, her complete set remains in the Royal Collection.
He was, during his lifetime, often mentioned in the same breath in terms of quality and renown as figures like J. M. W. Turner and Samuel Prout.
