Bijgewerkt in november 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 2 werken van Sam Stuart in onze catalogus
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The interior of a Maori pa in the olden time (1885) is het bekendste schilderij van Sam Stuart; het origineel bevindt zich in het Auckland Art Gallery Toi o Tāmaki, Auckland. Onze catalogus bevat 2 werken van Sam Stuart; hier zijn de 2 bekendste, gerangschikt met het jaartal en het museum van elk werk, om u te helpen bij het maken van uw keuze.
Het museum met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Sam Stuart | Schilderijen uit deze lijst |
|---|---|---|---|
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 2 | The interior of a Maori pa in the olden time, Fort Britomart |
Van 1869 tot 1885, 17 jaar aan gedateerde schilderijen van Sam Stuart: blader jaar voor jaar door de collectie om uw favoriete periode te vinden.
Selecteer een jaar om de bijbehorende schilderijen te bekijken.
The interior of a Maori pa in the olden time (1885) staat op de eerste plaats.
Sam Stuart was 30 jaar oud: The interior of a Maori pa in the olden time dateert uit 1885, en Sam Stuart werd geboren in 1855.
2 werken van Sam Stuart zijn opgenomen in onze catalogus, gedateerd van 1869 tot 1885.
Voornamelijk in Auckland Art Gallery Toi o Tāmaki (Auckland). Zie de museumtabel hierboven voor de volledige lijst.
Eerste op deze pagina: Fort Britomart (1869). Laatste: The interior of a Maori pa in the olden time (1885).
Het Auckland Art Gallery Toi o Tāmaki, Auckland herbergt 2 van de schilderijen in deze ranglijst, waaronder The interior of a Maori pa in the olden time en Fort Britomart.
Ja. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie of als een print. Open het schilderij, kies de gewenste afmeting en plaats uw bestelling.
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.
