Päivitetty marraskuu 2026 · järjestetty suosituimmuuspisteiden mukaan (jokaisen teoksen haut, vierailut ja tilaukset) · 2 teosta taiteilijalta Sam Stuart luettelossamme
Pika-vastaus
The interior of a Maori pa in the olden time (1885) on Sam Stuartin tunnetuin maalaus; alkuperäinen teos kuuluu museolle Auckland Art Gallery Toi o Tāmaki, Auckland. Katalogissamme on 2 teosta taiteilijalta Sam Stuart; tässä ovat 2 kuuluisinta teosta järjestettynä vuosiluvun ja museon mukaan, jotta voit helpommin valita haluamasi teoksen.
Museo, jossa on eniten tämän sivun maalauksista.
| Museo | Kaupunki | Sam Stuart teokset | Tämän listan maalaukset |
|---|---|---|---|
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 2 | The interior of a Maori pa in the olden time, Fort Britomart |
Vuosien 1869–1885 välillä, 17 vuotta kattavat Sam Stuart -teokset: selaa vuosi vuodelta löytääksesi suosikkikauden.
Valitse vuosi nähdäksesi sen teokset.
The interior of a Maori pa in the olden time (1885) on ykkönen.
Sam Stuart oli 30 vuotta: The interior of a Maori pa in the olden time on päivätty vuodelle 1885, ja Sam Stuart syntyi 1855.
Luettelossamme on 2 teosta taiteilijalta Sam Stuart, aikaväliltä 1869–1885.
Pääasiassa Auckland Art Gallery Toi o Tāmaki (Auckland). Katso yllä oleva museotaulukko nähdäksesi täydellisen listan.
Sivun vanhin teos: Fort Britomart (1869). Uusin: The interior of a Maori pa in the olden time (1885).
Auckland Art Gallery Toi o Tāmaki, Auckland -museossa on 2 tämän listan maalauksista, mukaan lukien The interior of a Maori pa in the olden time ja Fort Britomart.
Kyllä. Voit tilata jokaisen tämän sivun maalauksen käsinmaalatun öljyreproosion tai painatuksena. Avaa maalaus, valitse koko ja tee tilauksesi.
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.
