Aug 14, 2025
Alcazar, Segovia, Spain by David Roberts
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Alcazar, Segovia, Spain by David Roberts
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David Roberts - "Interior of Rosslyn Chapel" (1844)
David Roberts, Interior of Amiens Cathedral, c. 1827, watercolor.
Title: Interior of Amiens Cathedral Artist: David Roberts (Scottish, 1796-1864) Date: ca. 1827 Genre: interior, architectural painting Medium: watercolor on cream wove paper Dimensions: 36.3 cm (14.3 in) high x 31.3 cm (12.3 in) wide Location: Princeton University Art Museum, Princeton, NJ, USA Born in Edinburgh, David Roberts began his art career as a painter of trompe l'oeil interior decorations for Regency London's upper crust. He then achieved success creating theatrical panoramas. His fame today, though, chiefly rests on his masterful drawings and watercolors of scenes from Egypt, the Near East, and (as here) continental Europe. Roberts' architectural paintings are distinguished by a combination of epic grandeur and keen attention to detail.
Burgos Cathedral
David Roberts
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David Roberts (1796-1864): Entrance to the Crypt, Roslin Chapel, 1843, Oil on Panel, 71.6 x 62.1 cm, Victoria & Albert Museum, London
Chancel of the Collegiate Church of St Paul, at Antwerp
Artist: David Roberts (Scottish, 1796-1864)
Date: 1861
Medium: Oil on canvas
Collection: National Galleries of Scotland, Edinburgh, Scotland
David Roberts, 1796 - 1864. Artist (In Arab Dress)
Artist: Robert Scott Lauder (Scottish, 1803-1869)
Date: 1840
Medium: Oil on canvas
Collection: National Galleries of Scotland, Edinburgh, Scotland
Description
Architectural painter David Roberts traveled extensively in the Middle East and was the first artist to be granted permission to sketch inside mosques. This was on the condition that he shave off his side-whiskers, abandon his hog-hair paint brushes and adopt Arab dress. Following his return from the East he sat for this portrait by his friend Robert Scott Lauder, a commission from their mutual friend David Ramsay Hay.
Here we see Roberts in the actual clothes he bought in Cairo, with his side-whiskers still shaven. Lauder embraced this opportunity to try his hand at an oriental costume, revelling in the rich colours, folds and textures of the fabric. Roberts commented that Lauder’s rendering of the Arab dress so greatly transformed his face “that my dear old mother would never know me”.