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The interior of a Maori pa in the olden time
Käsitööna maalatud õlireproduction alates $1031 43 × 23 cm
Originaadi suurusega $1333 142 × 77 cm Telli originaalkoguses →
Teos, mis tegi Sam Stuart kuulsaks, on The interior of a Maori pa in the olden time (1885); see ripub Auckland Art Gallery Toi o Tāmaki-is, Auckland. Sellest 2 teosest, mis Sam Stuart teosena meie kataloogis on, on need 2 kõige imetlevamat, millist igaüks on esitatud koos kuupäeva, museumi ja oma eripärase tähelepanekuga.
Reiting põhineb meie populaarsusindeksil, mis koondab iga teose otsingud, külastused ja tellimused. Uuendatud november 2026. Iga selle lehekülje meistriteos on tellitav muuseumikvaliteedse käsitsi maalatuna õlireproduktsiona või fine art trükkina vastavalt valitud suurusele.
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 kuni 1885, 17 aastat Sam Stuart kunstitööd, aasta-aastalt, läbi tema parimate maaliduste.
The interior of a Maori pa in the olden time (1885)
30 aastat vanus: teos The interior of a Maori pa in the olden time on aastatest 1885 ja kunstnik Sam Stuart on sündinud aastal 1855.
Meie kataloogis on 2 teost kunstnikult Sam Stuart, aastatest 1869 kuni 1885.
Enamik neist asub Auckland Art Gallery Toi o Tāmaki (Auckland). Ülemal olev tabel on loetelnud muuseumid üks-eiralt.
Sellel lehel on kõige vanem teos Fort Britomart (1869) ja kõige uuem The interior of a Maori pa in the olden time (1885).
The interior of a Maori pa in the olden time ja Fort Britomart on üks 2 teosest sellel lehel, mida hoiab Auckland Art Gallery Toi o Tāmaki, Auckland.
Jah. Iga maali sellel lehel on võimalik tellida muuseumikvaliteedilisena käsitööna valminud õlimaalina või fine art trükkina vastavalt valitud måõduna otse maali oma lehekülalt.
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.