The Great Sphinx, Pyramids of Gizeh [Giza]. July 17th, 1839. (1846-1849)

Technique: Giclée quality print
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David Roberts' painting, titled "The Great Sphinx, Pyramids of Gizeh [Giza]. July 17th, 1839" (1846-1849), captures a captivating view of one of the world’s most iconic historical landmarks. The artwork presents a serene ambiance of the Giza Pyramid Complex under a vast, tranquil sky.In the foreground, the colossal sculpture of the Sphinx is depicted with intricate detail, emphasizing its majestic and enigmatic presence as it gazes eternally towards the horizon. The weathered features of the Sphinx, including its noble facial contours and the dramatic vertical striations of its lion’s body, are rendered with exquisite care, suggesting both the passage of time and the permanence of the monument.Behind the Sphinx, two of the Great Pyramids rise sharply into the blue sky, their smooth limestone surfaces glowing in the sunlight, highlighting their monumental scale and precise engineering. The composition of the painting cleverly uses the positioning of these ancient structures to guide the viewer’s eye, lending a sense of depth and grandeur.To the side of the Sphinx, a small group of travelers, including figures in local and possibly European attire, provides a sense of scale and injects a narrative element into the scene. Their presence suggests a moment of exploration and discovery, typical of the 19th-century fascination with exotic and historical destinations.Roberts' use of light and shadow, combined with his meticulous attention to detail and composition, invites viewers to linger over the scene and contemplate the enduring allure of Egypt’s ancient wonders.

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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.