Päivitetty marraskuu 2026 · järjestetty suosituimmuuspisteiden mukaan (jokaisen teoksen haut, vierailut ja tilaukset) · 2 teosta taiteilijalta Robert Smith luettelossamme
Pika-vastaus
Tunnetuin Robert Smith -teos on The Kila Kona Masjid, Purana Qila, Delhi (1823); alkuperäinen teos sijaitsee kohteessa Yale Center for British Art, New Haven. Valitsemalla Robert Smith teoksista 2 teoksen valikoimasta, tässä ovat 2 tunnetuinta teosta järjestettynä vuosiluvun ja museon mukaan, jotta voit valita haluamasi maalauksen tilattavaksi.
Museo, jossa on eniten tämän sivun maalauksista.
| Museo | Kaupunki | Robert Smith teokset | Tämän listan maalaukset |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 2 | The Kila Kona Masjid, Purana Qila, Delhi, Inside the Main Entrance of the Purana Qila, Delhi |
Kaikki tämän sivun päivätyt Robert Smith -teokset ovat vuodelta 1823, ja ne on lueteltu tässä sijoituksen mukaan.
Valitse vuosi nähdäksesi sen teokset.
Muita maalauksia aikakaudelta 1823
The Kila Kona Masjid, Purana Qila, Delhi (1823) on ykkönen.
Robert Smith oli 36 vuotta: The Kila Kona Masjid, Purana Qila, Delhi on päivätty vuodelle 1823, ja Robert Smith syntyi 1787.
Katalogissamme on 2 teosta taiteilijalta Robert Smith.
Pääasiassa Yale Center for British Art (New Haven). Katso yllä oleva museotaulukko nähdäksesi täydellisen listan.
Aikakaudella 1823: 2 tästä 2 maalauksesta on peräisin kyseiseltä ajalta, mukaan lukien The Kila Kona Masjid, Purana Qila, Delhi.
Yale Center for British Art, New Haven -museossa on 2 tämän listan maalauksista, mukaan lukien The Kila Kona Masjid, Purana Qila, Delhi ja Inside the Main Entrance of the Purana Qila, Delhi.
Kyllä. Voit tilata jokaisen tämän sivun maalauksen käsinmaalatun öljyreproosion tai painatuksena. Avaa maalaus, valitse koko ja tee tilauksesi.
Bideford, Devon, holds the origin of a man whose life was defined by lines, measurements, and the expansion of empire. Born in 1787, Robert Smith does not enter history as a professional painter, but as a Colonel of the Bengal Engineers. His hands were trained for the precision of the East India Company, tasked with surveying frontiers and managing the structural integrity of fortifications. Between 1805 and 1833, his world was shaped by the geography of India. He moves through landscapes of dust and stone, serving as an aide-de-camp to Sir George Nugent and conducting surveys across the Mirzapur area and the Delhi frontier.
The transition from technical drafting to artistic expression happens in the quiet intervals of military service. In 1814 and 1818, while stationed as Superintending Engineer in Penang, his focus shifts toward the documentation of Prince of Wales Island. He utilizes pencil, watercolour, and eventually oils to capture the architecture and the movement of people. These sketches are not mere records; they possess a specific structural clarity. His work captures the weight of buildings and the animation of groups in the foreground, often rendered with an intense attention to architectural detail.
The rhythm of his life follows the movement of troops and the demands of engineering. He is present during the Nepal War from 1815 to 1816, acting as a field engineer amidst conflict. Later, in Delhi, he applies his technical expertise to the restoration of Islamic monuments. His visual output expands beyond the Indian subcontinent to include views of Constantinople, specifically the Sarayburnu from Galata. The medium changes too; some of his more significant works are executed on copper, suggesting a period of creation in Europe, perhaps near Nice.
His later years see a retreat to more settled landscapes, though the memory of India remains central. After retiring to England in 1833, he lives in Bideford and later Paignton, Devon, where he builds Redclyffe Towers. His domestic spaces are filled with his own views, a personal collection intended to remind him of the terrain that occupied his career. Even as he settles into life in England and travels through Italy and France, the architectural precision of his earlier surveys remains the foundation of his visual legacy.
While Smith never sought the public eye or exhibition halls, his records remain held in significant repositories. His sketches and paintings are preserved within the following institutions:
His work exists as a bridge between the surveyor's map and the artist's observation. The technical accuracy required for his role in the Bengal Engineers informs every stroke of his watercolour and oil. He leaves behind a documented history of 19th-century landscapes, from the explosion of the magazine at Bharatpur to the quiet streets of Lucknow.
