Obelisk at Alexandria, commonly called Cleopatra’s needle. (1846-1849)

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David Roberts' painting "Obelisk at Alexandria, Commonly Called Cleopatra’s Needle," offers an evocative glimpse into the historic landscape of Alexandria, Egypt. Captured between 1846 and 1849, this artwork beautifully documents the illustrious past and architectural marvels of Egypt during a period of intense European interest in Egyptian antiquities.The focal point of the painting is the famed obelisk, piercing the sky with its age-old grandeur. Positioned against a backdrop of the expansive sky and a distant fortress wall, it highlights the enduring nature of Egypt's monumental heritage. The obelisk, known colloquially as Cleopatra’s Needle, stands as a silent witness to millennia of history, though it was originally erected in the Pharaoh era and has no actual ties to Cleopatra herself.Foregrounding the ancient monument, Roberts captures a group of locals seated in intimate conversation, dressed in traditional attire that contrasts vividly with the subdued tones of the surrounding landscape. This human element adds a layer of daily life and cultural context, bridging the gap between past and present.The artist’s use of light and shadow, combined with a palette that evokes the natural hues of the Egyptian terrain, transports viewers to this historic site. His detailed rendering not only showcases his skills as a painter but also reflects his deep respect for the subject matter, preserving a moment in time with poetic grace and precision.This painting is a significant cultural artifact, offering insights not only into the history of Egyptian architecture but also into the 19th-century European perspective on Egypt, intertwined with admiration and exotic curiosity.

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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.