Temple of Edfou [Idfû], ancient Appolinopolis, Upper Egypt. (1846-1849)

Technique: Giclée quality print
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David Roberts' exquisite lithograph, "Temple of Edfou [Idfû], ancient Appolinopolis, Upper Egypt," created between 1846 and 1849, captures the grandeur and solemnity of one of Egypt's best-preserved ancient temples. This visual masterpiece transports viewers to the heart of Upper Egypt, showcasing the Temple of Edfu in its serene and majestic setting.In the foreground of the painting, a small group of travelers—an intriguing mix of locals and perhaps explorers—rests near the arid, sandy landscape that stretches out around the monumental structure. Their presence, along with a wandering herd of goats, adds a vivid touch of life to the serene desolation that envelops the temple.The temple itself, a breathtaking edifice dedicated to the falcon god Horus, is depicted with an impressive attention to detail. The two towering pylons stand guard at the entrance, richly adorned with intricate hieroglyphic engravings that tell tales of divine worship and royal decree. Beyond these, the forecourt and further sanctuaries recede into the distance, suggesting the vast scale and complexity of the architectural wonder.Roberts' skillful use of light and shadow, combined with his precise linework and subtle coloring, embellishes the stony textures and monumental forms, highlighting the architectural brilliance of the ancient builders. The distant mountains and pale sky lend a tranquil and timeless atmosphere to the scene, emphasizing the enduring legacy of Egypt's cultural heritage.This painting not only serves as a historical record of architectural achievement but also evokes a sense of wonder and reverence, inviting viewers to contemplate the ancient civilization that once thrived along the Nile.

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David Roberts (24 October 1796 – 25 November 1864) was a Scottish painter. He is especially known for The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia, a prolific series of detailed lithograph prints of Egypt and the Near East that he produced from sketches he made during long tours of the region (1838–1840). These and his large oil paintings of similar subjects made him a prominent Orientalist painter. He was elected as a Royal Academician in 1841.