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LAS VISTAS DE ESPAÑA DEL VIAJERO DAVID ROBERTS, David Roberts (Fig 1. Retrato de David Roberts (litografía) 1 / GIMÉNEZ CRUZ, A.: La España pintoresca de David Roberts. El por Charles Baugniet, 1844. viaje y los grabados del pintor, Málaga 2002. 2 / BALLANTINE, J.: The life of David Roberts R. A., Edimburgo 1866. 3 / SIM, K.: David Roberts R. A., 1796-1864. A Biography, Londres 1984. 4 / GUITERMAN, H. / LLEWELLYN, B.: David Roberts, Phaidon Press and Barbican Art Gallery, London 1986. 54 LAS VISTAS DE ESPAÑA DEL VIAJERO DAVID ROBERTS, David Roberts (Fig. 1) fue un pintor PINTOR DE PAISAJES Y ARQUITECTURAS, HACIA 1833 escocés que recorrió España entre di- ciembre de 1832 y septiembre de 1833, Antonio Gámiz Gordo realizando innumerables vistas de ciu- dades y monumentos, especialmente de Andalucía, en gran parte reelaboradas tras su vuelta a Inglaterra. Dichas vis- tas, de indudable calidad y anteriores a la aparición de la fotografía, aportan datos gráficos de enorme interés para conocer mejor nuestro patrimonio pai- sajístico y arquitectónico, en parte des- aparecido o transformado. Gracias a los dibujos, acuarelas y óleos de Roberts, publicados con gran éxito como litografías y grabados, el público culto de Europa accedió du- rante el siglo XIX a vistas de lugares apenas conocidos en dichos momen- tos previos a la fotografía. De este mo- do se conformaría una imagen de nues- tros territorios que ha marcado su personalidad hasta tiempos actuales. Además nuestro artista ejerció una no- table influencia sobre destacados pin- tores, especialmente sobre Jenaro Pé- rez Villamil, primer gran paisajista español de su tiempo. En un reciente libro de Antonio Gi- ménez Cruz 1 se reconstruye el viaje de Roberts por España, sin estudiar sus vis- tas, usando textos de autores coetáneos y cerca de 60 cartas del pintor conser- vadas, muchas publicadas en 1866 por su primer biógrafo, James Ballantine 2. Además hay otros dos importantes li- bros sobre Roberts, la biografía de Ka- tharine Sim 3 (1984), y el catálogo de una exposición en Londres (1986) en la que Helen Guiterman y Briony Lle- wellyn 4 trataron de compendiar la pro- lífica obra del pintor en sus viajes por Escocia, Inglaterra, Francia, Bélgica, Ho- landa, Alemania, España, India, Orien- expresión gráfica arquitectónica 5 / GIMÉNEZ CRUZ, A.: La España pintoresca…p. 21 y ss., 2002. 8 / GIMÉNEZ CRUZ, A.: La España pintoresca…p. 56 y 218, 2002. 6 / QUESADA, L.: Pintores españoles y extranjeros en Andalucía, 9 / QUESADA, L.: Pintores españoles y extranjeros en Andalucía, p. 86 y ss, Sevilla 1996. p. 87, 1996. 7 / GIMÉNEZ CRUZ, A.: La España pintoresca…p. 28 y ss., 2002. te Próximo e Italia. En dicho catálogo pintar escenas a gran escala, dibujan- derick Lewis, u otros personajes, co- 55 aparece un listado de vistas originales do los sitios visitados. Según el pro- mo Richard Ford. La oportunidad de de Roberts sobre España, que aquí se pio autor, al dibujar la catedral de contemplar obras de maestros como ordenan, se comentan y se completan York descubriría su vocación como Velázquez, Murillo o Zurbarán ejer- con otras obras localizadas, conside- pintor viajero 5. cería un atractivo considerable. Por en- rando además sus vistas publicadas co- Desde 1816 y hasta cerca de 1830 tonces España “estaba de moda” y mo litografías o grabados. Roberts se dedicó a la escenografía, existía una notable demanda del pú- Por tanto, el presente artículo plan- trabajando en los teatros más impor- blico inglés por asuntos españoles, po- tea una breve aproximación a la obra tantes de Escocia e Inglaterra, y resol- co conocidos o considerados como gráfica de David Roberts en España, viendo múltiples composiciones gráfi- exóticos. Ello haría pensar a Roberts intentando enumerar y valorar incon- cas con gran inventiva, inmediatez e que los considerables esfuerzos y gas- tables vistas de difícil localización, dis- intensidad expresiva, lo que le hizo ma- tos de su viaje se verían ampliamente persas en museos, en colecciones par- durar como pintor. Al gozar de una po- recompensados al comercializar sus ticulares, o en publicaciones objeto de sición económica más cómoda pudo imágenes españolas a su regreso, co- abundantes reediciones y plagios. Se dedicarse a la pintura. Fue miembro mo de hecho ocurrió. espera que en el futuro estas referen- de la recién creada “Society of British cias puedan ampliarse y que nuevas in- Artists” desde 1824 6, donde exhibió Un prolífico pintor de paisajes vestigaciones permitan conocer mejor muchos cuadros ejecutados con moti- el enorme legado gráfico de Roberts y vo de sus viajes. Tras exponer en la y arquitecturas cada uno de los paisajes o monumen- “Royal Academy” el cuadro “West Roberts emprendió su viaje con la tos plasmados por dicho autor, que hoy Front of Notre Dame, Rouen”, pinta- intención de aprovechar al máximo su se encuentra entre los más grandes pin- do para Lord Northwick, uno de sus tiempo, sin dejar jamás a un lado su tores del siglo XIX en la reciente am- primeros y más generosos mecenas, lápiz o pincel. Cuando llevaba un mes pliación del Museo del Prado en Ma- Roberts recibió suculentos encargos y y medio escaso en España, en una car- drid (Figs. 5 y 10). llegaría a presidir la citada Sociedad ta escrita desde Córdoba decía: “mi de Artistas Británicos. porfolio va enriqueciéndose más y La formación del pintor y Entre las razones que motivarían el más, siendo los temas no sólo buenos, los antecedentes de su viaje viaje de Roberts a España deben con- sino también originales, y lo único que siderarse sus circunstancias persona- me preocupa es si seré capaz de pin- a España les. Contrajo matrimonio en 1820 y tar la mitad de ellos. Suman aproxi- David Roberts (1796-1864) nació tuvo su única hija un año más tarde. madamente un centenar, y todavía ten- en Edimburgo en el seno de una fa- El fracaso de dicho matrimonio, que go previsto visitar seis ciudades, por milia muy humilde: su padre trabaja- llegó a una posterior separación, le lle- lo que me temo que lo mejor está to- ba como zapatero remendón y su ma- varía a buscar un cambio en su vida, davía por llegar”. Unos dos meses des- dre era lavandera. Tuvo que trabajar en lo personal y en lo artístico 7. Ha- pués, cuando el pintor pasó por Gi- duramente para abrirse camino en su cia 1830 el pintor tenía una edad y braltar en otra de sus cartas dice: profesión. A los doce años entró co- unas condiciones físicas idóneas, cier- “muchos de los dibujos son muy ori- mo aprendiz en el taller de un pintor ta experiencia en viajes, así como re- ginales, y sin contar los pequeños cua- y decorador de mansiones escocesas, cursos económicos para iniciar su dernos, tengo ya doscientos seis bo- y tras siete años de arduo trabajo en- aventura por España, que también em- cetos terminados, la mayor parte en contró empleo como pintor de esce- prendieron algunos de sus amigos y color” 8. Se ha llegado a estimar que nografías en una compañía de teatro destacados pintores ingleses del mo- sólo sobre Andalucía Roberts realizó ambulante, que le permitió viajar y mento, como David Wilkie, John Fre- cerca de 250 vistas 9. En nuestro pa- 10 / SIM, K.: David Roberts R. A., 1796-1864. A Biography, p. 68, 12 / GALERA ANDREU, P.: La imagen romántica de la Alhambra, 17 / GALERA ANDREU, P.: La imagen romántica de la Alhambra, 1984. El Viso 1992. p. 134-37, 1992. 11 / BALLANTINE, J.: The life of David Roberts R. A., p.231, 1866. 13 / GUITERMAN, H. / LLEWELLYN, B.: David Roberts, p. 108 (cat. 18 /“En las artes visuales no existe un estilo romántico si con 85), 1986. eso se quiere aludir a un lenguaje común de formas visuales y 14 / SIM, K.: David Roberts R. A., 1796-1864. A Biography, p. 80, medios de expresión comparable al barroco o al rococó. No hay 1984. una única obra de arte que encarne los objetivos y los ideales de 15 / GAMIZ GORDO, A. / ANGUIS CLIMENT, D.: “Imágenes cordo- los románticos...”. HONOUR, H.: El romanticismo, p. 15-16, 1981; besas: los Molinos y la Albolafia”, El Legado Andalusí nº 22, p.80- QUESADA, L.: Pintores españoles y extranjeros en Andalucía, p. 89, Granada 2005. 72, 1996. 16 / CALVO SERRALLER, F.: La imagen romántica de España. Arte y Arquitectura del siglo XIX, p. 22 y ss., 95-96, 1995. 56 ís no acometería óleos, salvo dos en fin de satisfacer las peticiones recibidas. derar el valor documental de sus imá- Sevilla, por la lógica dificultad de su Puede afirmarse que las deformaciones genes, nunca desvinculadas de la reali- transporte a Inglaterra. Los cuader- o manipulaciones de sus vistas no res- dad, cuyos detalles deben analizarse nos para sus bocetos eran “de bolsi- pondían a un “gusto por lo fantasioso” uno a uno y sin prejuicios. Asimismo llo”, de reducidas dimensiones (unos ni a un supuesto carácter “romántico” debe cuestionarse la opinión de Gale- 10 por 17 cm.), resultando asombro- sobre el que tanto se ha especulado 12, ra Andreu sobre Roberts: “la objeti- so, según Katharine Sim, como se ser- sino a la demanda de quienes le paga- vidad, el realismo o la exactitud, no son vía de ellos para después plasmar es- ban por obras únicas y exclusivas, a par- valores a tener muy en cuenta en esta cenas complejas y detalladas: “lo que tir de reducidos bocetos, y a veces eje- forma de mirar y de reflejar el paisaje maravilla de estos bocetos, la mayo- cutadas mucho después de su viaje o decorado” 17. Entre los innumerables ría a lápiz o aguada en papel ligera- (1833), como ocurriría con un cuadro ejemplos que demuestran lo contrario mente coloreado, no es sólo la nitidez sobre Carmona que Roberts regaló a pueden citarse las litografías de la Gi- y delicadeza del trazo, sino también su dentista, fechado en 1853 13.
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