Bazaar of the coppersmiths, Cairo. (1846-1849)

Technique: Giclée quality print
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More about this artwork

The painting "Bazaar of the Coppersmiths, Cairo" by David Roberts is a captivating scene that transports viewers to the bustling markets of 19th century Cairo. Created between 1846 and 1849, this intricate watercolor presents an engaging glimpse into daily Egyptian life at the time.In the foreground, the marketplace is alive with activity. Groups of people, clad in traditional attire, gather around various stalls and engage in animated discussions. The focus is on a particular stall, sheltered by a large fabric awning, where coppersmiths display their wares. The intricate details of the copper items, possibly including pots, plates, and decorative pieces, are rendered with meticulous care, highlighting Roberts' skill at capturing the essence of local craftsmanship.The architectural elements in the painting are particularly noteworthy. To the left, a towering minaret rises elegantly, showcasing the exquisite architectural heritage of Cairo with its intricate carvings and traditional Islamic design. Adjacent buildings, characterized by their ornate wooden balconies and latticed windows, frame the scene, adding depth and authenticity to the depiction.The atmosphere is further enriched by subtle details such as the hanging clothes and the pigeons perched on roofs, suggesting the everyday nature of the scene. The soft, diffused lighting lends a gentle serenity to the market's vibrancy, inviting the viewer to not only observe but also to feel the spirit and culture of Cairo during this period.David Roberts' "Bazaar of the Coppersmiths, Cairo" is more than just a visual representation; it is a historical document that offers insight into the cultural and social dynamics of Egypt in the mid-19th century.

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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.