Prints and Sketches: David Roberts

Who Exactly is David Roberts?

David Roberts (1796–1864) was a Scottish painter who rose to fame primarily due to his depictions of prominent Middle Eastern regions. Born in Edinburgh, Roberts began his career as a simple painter, often taking jobs in the theatre creating scenic backdrops. These early experiences helped shape and refine his distinctive artistic style that would later characterize his representations of the Middle East. In 1838, Roberts embarked on an extensive journey, studying and sketching various regions within Egypt, Palestine, Syria, Arabia, Idumea, and Nubia. During his time there, he meticulously documented architectural and natural wonders of the lands. Upon returning to Europe, Roberts transformed his field sketches into paintings and lithographs, culminating in his acclaimed publication The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia. His travels, largely inaccessible to ordinary Europeans, were considered groundbreaking and contributed to one of the most significant collections of visual imagery from the region in the 19th century.

What is Orientalism?

Orientalism, is considered to be a scholarly discipline that encompassed the study of the following: literature, religion, law, art and the philosophies of “Eastern societies”. On another hand, Orientalism is not only the study of these societies, but a discourse deeply rooted in the imperialistic plots that the West held against the East. As society has stepped into modern times, this term was no longer deemed appropriate and has been changed to a series of different names such as East Asian or Arab Studies. More commonly now, Orientalism is a term used to refer to the Western perspective or gaze placed upon the cultures and peoples of what’s considered to be the “Orient”.

What is “the Orient”?

The original term, “Orient” referred to the East, but whose East did this Orient represent?  Research in the field of Orientalism revolved around subjects that were located in various different regions. In the mid-20th century, Western scholars considered it to be involving a majority of Asia- east, southeast, and eastern central. In the past, in the early 20th century, it often included North Africa as well.

Why is Orientalism bad?

Orientalism is problematic because it reinforces power imbalances and distorts the understanding of Eastern cultures. It reduces the vast and diverse societies of the Middle East, Asia, and North Africa into a single, stereotypical image—often exotic, backward, irrational, or dangerous. These simplified representations erase cultural complexity and dehumanize real people, turning them into flat characters in a Western narrative.

David Roberts Work on “The Orient”

In addition to his role in creating and enforcing colonial power dynamics onto Eastern societies, Roberts also frequently oversimplified Middle Eastern cultures in general, focusing predominantly on architecture and landscapes and conveniently neglecting the complex social, political, and economic realities of local populations. While yes, his artworks were praised for their accuracy in replicating sites and monuments, rightfully so, they drastically failed at providing insights into contemporary societal dynamics. In paintings such as “Temple of Isis on the Roof of the Great Temple of Dendera,” Roberts was able to reduce local figures to mere decorative elements within romanticized and idealized settings. By doing so, he completely ignores the contemporary lived experiences of these individuals and pushes that onto the European consumer. Roberts touched a bit on his thoughts regarding the public in the Middle East but I can’t quite figure out why he often avoided depicting scenes of everyday life or social interactions that would reveal the region’s contemporary vitality or complexity. But perhaps, maybe that was never his goal and his sole purpose was to prioritize aesthetic and historical intrigue, portraying Middle Eastern societies primarily as historical curiosities or romanticized backdrops, a realm in which he was somewhat familiar with. However, I believe this absence of this important representation significantly contributed to Western misconceptions about Middle Eastern cultures, painting them as static, passive, and timelessly exotic. Since the people of the Middle East weren’t represented in a positive and headlining light, this allowed a skewed perception to foster and allowed for the understanding of foreign cultures to be ignored and it authorized Europeans to deny and reject the evolving and dynamic nature of these societies. Additionally, by reducing individuals to picturesque elements, Roberts stripped locals of their individuality and agency, thereby reinforcing harmful stereotypes and prejudices. By presenting these beautiful yet superficial images of what seemed to be of Middle Eastern life, Roberts shamelessly contributed to the colonial narratives that portrayed Eastern societies as culturally inferior, static, and ripe for Western intervention and domination. Roberts’ work thus exemplifies how Orientalist portrayals perpetuate cultural misunderstandings and stereotypes, reinforcing Western imperialism’s ideological underpinnings. While visually compelling, his artistic legacy underscores the critical need to contextualize Orientalist art within its broader colonial and cultural frameworks.

Orientalist art represents an inherent power imbalance, whether the artist is aware or not. This is instantly created because Western artists held the authority to represent Eastern cultures without authentic engagement or accountability to the locals depicted. Without the subject holding the artists accountable, there is a never ending cycle of misrepresentation.  David Roberts’ paintings specifically exemplify this imbalance by when he decided to share Western ideals and fantasies to the European public instead of expressing the authentic local experiences. It was rare for his depictions to share the entire true Middle Eastern experience, as he was very distinct when it came to displaying Western superiority and reinforcing imperialist ideologies, which was extremely harmful to any community that was victim to colonial ambitions and cultural domination. In works such as “View of Cairo,” Roberts expertly positions the gaze of Western viewers at a vantage point above the city. This was an intentional and symbolic choice in order to place them in a position of dominance and observation. Compositional choices like this were used so frequently, and they mirror colonial power dynamics. In all honesty, even if he wanted to, Roberts’ visual narratives rarely allowed space for local voices or interpretations. His paintings were constructed for Western consumption. He in some ways had to filter Eastern societies through a lens that would be palatable to Western values. By only allowing the repeated portrayal of locals as passive observers in their own society reinforced simply just contributed to intellectual superiority. Using these strategies allowed for Roberts to sustain colonial hierarchies and justified European colonial interventions as civilizing missions, perpetuating the problematic idea that Eastern societies required Western oversight and guidance. Roberts’ representation of Eastern people and societies were only situated through Western perceptions, reflecting broader colonial attitudes that positioned the West as culturally advanced and rational, while the East was depicted as backward and irrational. His paintings did not have the ability to remain neutral but instead as we keep seeing as a theme in his works, reinforced power structures by visually asserting the presumed superiority and rational authority of Western perspectives, thereby subtly legitimizing colonial exploitation. Roberts’ representations embodied a Western-centric perspective, perpetuating a sense of authority and entitlement to depict Eastern cultures without authentic engagement or local accountability. His prints likely contributed to the “cultural conditioning” favorable to British imperialism by presenting Arabs as generalized stereotypes rather than as fully realized human beings.

David Roberts’ paintings frequently highlighted exoticized portrayals of the Middle East, reflecting his fascination with picturesque ruins, grand architectural sites, and local peoples. These depictions contributed significantly to shaping Western narratives of Eastern cultures, often reinforcing a sense of cultural stagnation and timelessness. Roberts’ artistic choices were deliberate, focusing primarily on scenes that evoked wonder and curiosity among European viewers, thereby feeding into stereotypes that portrayed the Middle East as an unchanging and static civilization. Roberts’ works consistently depicted notable landmarks such as mosques, bustling bazaars filled with vibrant colors and exotic goods, and vast desert landscapes, all rendered with meticulous detail and dramatic lighting effects. These scenes, while visually stunning, reinforced Western perceptions of the East as an exotic “other”—an alien and mysterious world disconnected from modern progress. His repeated focus on ruins and ancient structures subtly implied a narrative of decline, suggesting that the cultures he depicted were relics of the past rather than vibrant societies with contemporary relevance. Roberts’ depictions of bazaars, for instance, were particularly influential in exoticizing the East. His scenes captured crowded marketplaces brimming with merchants and buyers, vibrant fabrics, exotic spices, and animals—scenes distinctly removed from the everyday experience of his European audience. Through his selective portrayal, Roberts reinforced notions of the East as alluring yet distant and unknowable, subtly affirming Western curiosity and superiority.