Robert Procterの名作として知られるのはA Venetian street (1908)で、オークランドのオークランド・アート・ギャラリー・トイ・オ・タマキに所蔵されています。 コレクターや美術館の来場者の心には、Sunset and boats (1900)、そして"Barcarolle" floating thus in silver light (1908)が続いています。 当カタログに含まれるRobert Procterの全4作品のうち、特に高く評価されている4作品をご紹介します。各作品には制作年、所蔵美術館、そしてその作品ならではの特徴が添えられています。
各作品の検索数、閲覧数、および注文数を組み合わせた当サイトの人気スコアに基づきランキングを作成しています。最終更新：11月 2026 このページに掲載されているすべての名作は、ご希望のサイズで、美術館品質の手描き油彩複製画、またはファインアートプリントとしてご注文いただけます。
The quietude of a narrow passage comes to life in A Venetian street, an oil on canvas painted by Robert Procter. This work, dating to 1908, captures a specific, sun-drenched moment within the winding architecture of Venice. The painting presents a view that feels immediate, as if the viewer has just turned a corner into the shade of an alleyway to find the light hitting a distant wall.
このページに掲載されている絵画を最も多く所蔵している 2 の美術館
| 美術館 | 都市 | Robert Procterの作品 | このリストの絵画 |
|---|---|---|---|
 オークランド・アート・ギャラリー・トイ・オ・タマキ |
オークランド | 3 | A Venetian street, Sunset and boats, "Barcarolle" floating thus in silver light |
 Te Whare O Rehua Sarjeant Gallery |
1 | Mt Ruapehu |
1900年から1908年までの10年間にわたる制作活動、それこそがRobert Procterのすべてでした。その傑作を、年を追ってご紹介します。
The quietude of a narrow passage comes to life in A Venetian street, an oil on canvas painted by Robert Procter. This work, dating to 1908, captures a…
A Venetian street (1908)（オークランド・アート・ギャラリー・トイ・オ・タマキ, オークランド）。続いてSunset and boats (1900)、そして"Barcarolle" floating thus in silver light (1908)が続きます。
29歳：A Venetian streetは1908年の作品で、Robert Procterは1879生まれです。
当カタログには、1900年から1908年にかけて制作されたRobert Procterによる4点の作品が掲載されています。
その多くはオークランド・アート・ギャラリー・トイ・オ・タマキ (オークランド) と Te Whare O Rehua Sarjeant Galleryに所蔵されています。上記の表に各美術館を一覧で記載しています。
1908における作品は、このページにある全4点のうち2点にのぼり、その中にはA Venetian streetが含まれます。
このページで最も古い作品はSunset and boats (1900)、最新の作品はA Venetian street (1908)です。
A Venetian street, Sunset and boats と "Barcarolle" floating thus in silver lightは、オークランド・アート・ギャラリー・トイ・オ・タマキ, オークランドが所蔵するこのページ内の3点の作品のうちの一つです。
はい。このページに掲載されているすべての絵画は、各作品の個別ページから、ご希望のサイズで、美術館品質の手描き油彩複製画、またはファインアートプリントとしてご注文いただけます。
Born in Scotland, Robert Procter carried the seeds of his creative life across the seas when he arrived in Christchurch around 1886. The young man found himself in a landscape that would shape his vision, seeking out the formal instruction necessary to refine his natural inclinations. He enrolled at the Canterbury College School of Art, where the discipline of the brush and the study of form became his primary language. It was here that his talent began to take a definite shape, moving beyond mere imitation toward a deeper understanding of light and shadow.
His path was further illuminated when he became a pupil of Petrus van der Velden. Under such guidance, Robert Procter learned to observe the world with a keen, focused eye. This period of mentorship was crucial, as it instilled in him a commitment to faithful representation. He learned to balance the careful, detailed rendering of a subject with a more fluid approach to the surrounding environment. This technical foundation allowed him to capture the essence of his subjects with a sense of presence that felt both grounded and alive.
His dedication to the craft eventually led him back to the halls where he once studied. Having mastered the complexities of his medium, he returned to the College to serve as an instructor. He moved from the position of a student to that of a teacher, sharing his knowledge of composition and color with others. This transition marked a significant chapter in his life, as he transitioned from a seeker of knowledge to a guardian of artistic tradition within the local community.
After establishing himself in the local scene, Procter sought the wisdom of the Old World. Between 1904 and 1906, he traveled to Europe to refine his eye and hand. He spent his time studying in the great centers of art, specifically in Paris and Antwerp. These years abroad allowed him to absorb the techniques of the continent before returning to the southern hemisphere. He brought these lessons back to New Zealand, where his presence would shape the next generation of painters.
Upon his return, he remained in Christchurch until 1916. During this period, he was deeply involved in the artistic life of the region, serving as an instructor at the College. His influence extended beyond the classroom as he shared his knowledge of form and light. Eventually, his path led him north to Auckland. There, he took up a position teaching at the Elam School of Art, continuing his commitment to the instruction of others through his professional life.