Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 2 værker af Sam Stuart i vores katalog
Hurtigt svar
The interior of a Maori pa in the olden time (1885) er Sam Stuarts mest kendte maleri; originalen tilhører Auckland Art Gallery Toi o Tāmaki, Auckland. Vores katalog indeholder 2 værker af Sam Stuart; her er de 2 mest berømte, rangeret med årstal og museum for hvert værk, så du kan vælge det rette at bestille.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Sam Stuart | Malerier fra denne liste |
|---|---|---|---|
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 2 | The interior of a Maori pa in the olden time, Fort Britomart |
Fra 1869 til 1885, 17 års daterede Sam Stuart-malerier: gennemse år for år for at finde den periode, du kan lide.
Vælg et årstal for at se dets malerier.
The interior of a Maori pa in the olden time (1885) er nummer ét.
Sam Stuart var 30 år gammel: The interior of a Maori pa in the olden time er dateret 1885, og Sam Stuart blev født i 1855.
2 værker af Sam Stuart er i vores katalog, dateret fra 1869 til 1885.
Primært i Auckland Art Gallery Toi o Tāmaki (Auckland). Se museomtabelen ovenfor for den fulde liste.
Ældste på denne side: Fort Britomart (1869). Nyeste: The interior of a Maori pa in the olden time (1885).
Auckland Art Gallery Toi o Tāmaki, Auckland har 2 af de malerier, der er rangeret her, herunder The interior of a Maori pa in the olden time og Fort Britomart.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion eller som et print. Åbn maleriet, vælg størrelsen og afgiv din bestilling.
In the mid-nineteenth century, a painter emerged from the landscapes of New Zealand to capture the shifting realities of a developing colony. Born in 1855, Sam Stuart lived through a period of profound transformation, observing the world with a steady eye that sought to document the essence of his surroundings. His life, which reached its end in 1920, was defined by this quiet dedication to the visual record, translating the textures of the land and the structures of human habitation onto canvas.
His brushwork was not merely a pursuit of aesthetics but a method of preservation. Through his work, the specificities of a particular time and place were held fast against the inevitable passage of years. He moved through the world as a witness, translating the light and the shadows of his era into a permanent visual language.
The works that remain of his hand offer a window into the mid-to-late Victorian era of New Zealand. His compositions often focused on the intersection of the built environment and the natural world, or the intimate details of cultural life. His output during the latter half of the nineteenth century reveals a keen interest in the structural and social landscapes of his home.
The following works represent the significant pieces of his legacy held within institutional collections:
In these pieces, one finds a commitment to the specificities of his subject matter. Whether depicting the fortifications of a settlement or the interior life of a Maori pa, Stuart sought to render the truth of the scene. His 1885 work, in particular, provides a rare glimpse into the domestic and social arrangements of the past, captured with a sense of historical gravity.
The importance of Stuart's contribution is felt most strongly in the halls of the Auckland Art Gallery Toi o Tāmaki. It is within these walls that his vision is most clearly preserved, with multiple works finding a permanent home in their collection. His ability to document the nuances of New Zealand life ensures that his perspective remains accessible to those who study the history of colonial art.
He remains a figure of historical significance for his role in the early development of the nation's visual identity. By focusing his talent on the immediate reality of his surroundings, he helped create a foundation for the art that would follow in the decades after his death.
