Robert Smithの最も有名な作品は、ニューヘイブンのイェール英国美術館に所蔵されているThe Kila Kona Masjid, Purana Qila, Delhi (1823)です。 当カタログにはRobert Smithによる2点の作品が掲載されています。以下の2点は、世界で最も注目されている作品であり、制作年、所蔵美術館、そしてその重要性についてまとめています。
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。
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 1 の美術館
| 美術館 | 都市 | Robert Smithの作品 | このリストの絵画 |
|---|---|---|---|
 イェール英国美術館 |
ニューヘイブン | 2 | The Kila Kona Masjid, Purana Qila, Delhi, Inside the Main Entrance of the Purana Qila, Delhi |
このページに掲載されているRobert Smithの年代別作品はすべて1823年のものです。その中でも特に有名な作品をご紹介します。
The Kila Kona Masjid, Purana Qila, Delhi (1823)
36歳：The Kila Kona Masjid, Purana Qila, Delhiは1823年の作品で、Robert Smithは1787生まれです。
Robert Smithによる2点の作品を掲載しています。
その多くはイェール英国美術館 (ニューヘイブン)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。
1823における作品は、このページにある全2点のうち2点にのぼり、その中にはThe Kila Kona Masjid, Purana Qila, Delhiが含まれます。
The Kila Kona Masjid, Purana Qila, Delhi と Inside the Main Entrance of the Purana Qila, Delhiは、イェール英国美術館, ニューヘイブンが所蔵するこのページ内の2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。
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.