One of two colossal statues of Rameses [sic] II. Entrance to the Temple at Luxor. 1846 - 1849

Editor: Here we have David Roberts's watercolor and pencil drawing, “One of two colossal statues of Rameses II. Entrance to the Temple at Luxor,” created between 1846 and 1849. I am struck by the monumentality of the sculpture depicted compared to the small figures around it, really emphasizing the power of Ramses. What else do you see in this piece? Curator: Roberts’s work presents an interesting intersection of art and empire. The artistic rendering of Egyptian monuments during this period served a clear political function. How do you think images like this, widely circulated in Europe, shaped perceptions of Egypt and its history? Editor: It probably contributed to this perception of Egypt as a place of immense history but also of being, perhaps, a place to be explored and even "claimed" by European powers? A source of resources and antiquity? Curator: Exactly! These artworks played a crucial role in constructing a particular narrative of Egypt’s past. The monumentality you noticed serves not just to showcase Rameses's power, but also to suggest the decline of Egyptian civilization, implying a need for European intervention to “preserve” and “understand” it. What is the implication when Roberts chooses to portray figures interacting amongst the relics? Editor: So the figures sort of naturalize a European presence? Curator: Precisely. The casual presence of people suggests ownership and the right to occupy that space. These images bolstered colonial ambitions. Before modern photography, this type of work played a huge role in establishing that cultural dynamic. Editor: That makes me think differently about travel art of this era, considering its inherent power dynamics and how intertwined art was with colonial agendas. Thanks! Curator: Indeed. Examining the historical context and the public role of such artworks sheds light on their deeper significance.