David Roberts (1796–1864) the Lure of an Occidental
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CALIFORNIA ART CLUB NEWSLETTER David Roberts (1796–1864) The Lure of an Occidental by Elaine Adams Abu Simbel From Egypt and Nubia; Published by F.G. Moon, 1846–1849 AV I D ROBERTS WAS NOT BORN TO A The family lived in a two-room tenement house. privileged class, nor did he have the advantages Three of the Roberts’ five children did not survive Dof a cultured environment — what he did pos- past childhood. The financial and emotional agony in sess, however, were the greatest of all riches — talent, caring for their frail children, and then in burying determination, faith, and a sense of adventure. them, were devastating, and left a mark on David David Roberts was born on October 24, 1796 in who was the eldest. the small village of Stockbridge, Scotland near the It was generally expected that sons would follow capital of Edinburgh. His father, John Roberts, was in their father’s trade. However, the Roberts’ decided a cobbler, and his mother, Christine, took in laundry. to enroll David in a local home-school when he was California Art Club October 2001 – 3 – 2 seven. The following year, David attended a school in Edinburgh, but after enduring frequent disciplinary lashings, his parents pulled him out and set him up in an apprenticeship as a cobbler. At an early age, David already displayed an acu- men for drawing. He was able to copy any picture, and at age nine was dubbed “the natural genius.” When the circus would come to the Earthen Mound in Edinburgh, David would eagerly visit and memo- rize the colourful scenes of brightly decorated cara- vans, trained animals and strolling players. Upon returning home, he would draw these impressionable images on the kitchen walls. Eventually, his mother would clean the kitchen and whitewash the walls, and David would paint new scenes. One day, when a customer came by to pick up his shoes, he was amazed over the cobbler’s son’s draw- ings that were displayed on the kitchen walls, and inquired about the boy’s future. Although David’s father considered art to be a waste of time, his mother was very proud of their son’s talent. The parents decided to show some of his drawings to Thomas Graham, a master of the Trustees’ Academy in Edin- burgh. Graham recognized the boy’s talent, but was also aware that the family lacked funds to afford the education. He suggested that David be apprenticed to Robert Scott Lauder a decorative painter of interiors, until he could earn Portrait of David Roberts in Turkish Clothing, 1840 the funds to pay for his training at the academy. At the Oil on canvas age of eleven, David entered the workshop of Gavin Collection: Scottish National Portrait Gallery, Edinburgh Beugo, and thus began his seven year apprenticeship. through his voracious reading, and his appetite for n the early part of the nineteenth adventure and travel began to develop during this Icentury, it was fashionable for the upper class to time. He frequently spent his lunch money at the embellish their homes with opulent interior designs. “penny library” on such action stories as Blackbeard Decorative house painters, which included many fine the Pirate and Don Quixote. He also became artists, satisfied the taste of the time by becoming intrigued with the possibility of one’s life being pre- highly skilled at creating faux finishes, spatial illu- determined. He discovered that a certain mole on his sions, indoor gardens and trompe l’oeil paintings. leg indicated that he was destined to become a great David’s duties at Beugo’s studio included opening the traveller. shop every morning, sweeping the floor, grinding After leaving Beugo’s apprenticeship at age eigh- colours, and stirring vats. Amongst the overwhelm- teen, David Roberts did not enroll at the Trustee’s ing reek of animal hide-glue and Beugo’s raging tem- Academy to further his art training as originally per, David managed to learn how to create poetic planned, rather, he briefly took the position of inde- images and atmospheric effects at rapid speed. pendent decorator. He soon realized his childhood While working for Beugo, Roberts organized a fantasies when he became a scene painter for the small group of like-minded fellow apprentices to James Bannister’s Ring Circus. form a drawing studio where they would take turns Working for the circus allowed David his first modelling for each other. He educated himself opportunity to travel beyond Edinburgh. The troupe California Art Club October 2001 – 3 – 3 entertained throughout northern England, and on following of wealthy patrons. Roberts continued his occasion David would perform as straight man for association with the Society of British Artists, for the clowns. While travelling, he would take oppor- whom he served as vice-president in 1830 and presi- tunities to sketch the local sights. It was during this dent in 1831. time that he began to think of himself as an artist. Finally feeling confident as an accomplished artist, In Edinburgh, Roberts worked as both an interior David Roberts decided to take a sketching tour of the painter and theatre scene painter. However, it was his German Rhine region in the summer of 1830. From reputation for elaborate backdrops that kept him in this trip he created a series of detailed landscape high demand with the theatres in Edinburgh, and sketches. He successfully sold the series to various later in London. With success came security, and publishers who made engravings from them to use as David decided to marry Margaret McLachlan in book illustrations for different subjects. In 1834 1820. She was a blonde beauty, three years younger twenty-seven of his illustrations were used to accom- than Roberts, who was then twenty-four. It is pany Edward Bulwer-Lytton’s melodrama, Pilgrims believed that Margaret may have been an actress, and of the Rhine, published by Saunders and Otley. Two it is quite possible that they met at one of the theatres years later, the London publishers, W. and E. Finden, where David was working. The following year, their used Roberts’ sketches for Landscape Illustrations of only child, Christine, was born. Unfortunately, Mar- the Bible and for a three-year series of volumes garet had a drinking problem, and the couple argued known as The Landscape Annual. Thus, began David frequently. After twelve years of marriage, they sep- Roberts’ illustrious reputation as a “travel view arated, but David remained devoted to his daughter. artist.” Roberts began to make subsequent travel plans. He lthough Roberts continued his career initially intended to go to Italy, a popular destination Aas a set designer, his dream was to be recognized for most artists of the day. However, he changed his as a landscape painter. In 1821 he was rejected from mind and decided to go to Spain. He was drawn by the Fine Arts Institution the exoticism of the Moorish architecture and the fact in Edinburgh, but he per- severed. In 1824 three of his Scottish travel paint- ings were accepted for exhibition by the Society of British Artists. Two of the paintings sold during the exhibition, and he was granted membership into the society. In 1826 Roberts made his debut at the Royal Academy with his paint- ing, Rouen Cathedral, which inspired the cele- brated artist, J.M.W. Turner (1775-1851), to state, “Here is a man we must have our sights upon.” The press also gave him favourable reviews, and he soon Approach of the Simoon developed an important From Egypt and Nubia; Published by F.G. Moon, 1846–1849 California Art Club October 2001 – 3 – 4 that few artists had travelled there. He also recognized as a boy when reading adventure stories. After travel- that based on novelty alone, art patrons would be ling and painting for ten months, he returned to Eng- eager to buy plein air paintings of Spain. land with over 200 sketches, and as he predicted, they He arrived in Madrid in mid-December. He com- sold well. Following the success of his Spanish tour, he plained of the cold and damp weather, and of the local felt inspired to journey to Egypt and the Holy Land. cuisine. He wrote to his sister, “I fear I shall never stomach it... Between oil and garlic it is difficult to tell gypt’s great architectural feats are what you are eating.” However, in Granada he felt Edistinguished in their temples, monuments and inspired by the medieval atmosphere and the sur- pyramids. Even the ancient Greeks and Romans mar- rounding influences of the Christians and Moors. velled over the accomplishments of the Egyptians. Roberts also travelled to Gibraltar, and then to David Roberts was raised on stories of the Bible, this, Morocco. In Morocco, Muslim law restricted his move- coupled with his sense of adventure, beckoned him to ments. As a Protestant and Scotsman, he was both the Holy Land. He left London in 1838 to embark on astounded and intrigued by the exoticism and mystery a trip that ultimately changed his life and altered the of this foreign culture. He felt the excitement that he had way Europeans viewed this virtually unknown land. Although he was now a seasoned traveller, Roberts was not accustomed to the Middle Eastern culture or dialects, nor was he knowledgeable with its history or scientific and archaeological studies. However, he possessed a keen eye that could record his personal observations via an accurate sketch. The fact that he was naive to the ways of the Orient gave his work a fresh approach. When Napoleon invaded Egypt in 1798, he took with him 167 scholars, scientists and artists.