Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 2 teost Sam Stuart meie kataloogis
Kiire vastus
The interior of a Maori pa in the olden time (1885) on Sam Stuart kõige tuntum teos; originaal kuulub museumi Auckland Art Gallery Toi o Tāmaki, Auckland. Meie kataloogis on 2 teost kunstnikult Sam Stuart; siin on 2 kõige kuulsamat teost järjestatud aasta ja muuseumi järjekorras, et aidata teil valida soovitud teos.
Muuseum, milles on kõige rohkem sellel lehel esitatud maaleid.
| Muuseumid | Linn | Sam Stuart teosid | Selle nimekirja maalid |
|---|---|---|---|
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 2 | The interior of a Maori pa in the olden time, Fort Britomart |
Aastast 1869 aastat 1885, 17 aastat kuupäevatud Sam Stuart maalid: leidke oma lemmikperiood aastate kaupa sirvimisel.
Valige aasta, et näha selle aasta teoseid.
The interior of a Maori pa in the olden time (1885) on esikkohal.
Sam Stuart oli 30 aastat vanus: teos The interior of a Maori pa in the olden time on pärinev aastast 1885 ning Sam Stuart sündis aastal 1855.
Kataloogis on 2 teost kunstnikult Sam Stuart, kuupäevadelt 1869 kuni 1885.
Peamiselt Auckland Art Gallery Toi o Tāmaki (Auckland). Täielik nimekiri on esitatud ülalpool olevas muuseumide tabelis.
Sellel lehel kõige vanem: Fort Britomart (1869). Uusim: The interior of a Maori pa in the olden time (1885).
Auckland Art Gallery Toi o Tāmaki, Auckland säilitab 2 siin loetletud maalistest, sealhul ka The interior of a Maori pa in the olden time ja Fort Britomart.
Jah. Kõik sellel lehel olevad maalid on tellitavad nii käsitööna valminud õlimaalide reproduktsioonina kui ka trükkina. Avage maali, valige suurus ja esitage tellimus.
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.
