Robert Smith의 가장 유명한 작품은 뉴헤이븐의 예일 영국 미술관에 있는 The Kila Kona Masjid, Purana Qila, Delhi (1823)입니다. Robert Smith의 작품 2점이 카탈로그에 등록되어 있습니다. 아래의 2점은 전 세계에서 가장 주목받는 작품들로, 각 작품의 제작 연도, 소장 박물관 및 예술적 가치를 함께 보여줍니다.
각 작품의 검색, 방문 및 주문 수를 결합한 인기 점수를 기준으로 순위를 매깁니다. 11월 2026 업데이트됨. 이 페이지의 모든 명작은 원하시는 크기로 박물관 품질의 수작업 유화 복제화 또는 파인 아트 프린트로 주문하실 수 있습니다.
이 페이지에 있는 작품을 가장 많이 소장하고 있는 1개의 미술관
| 소장 미술관 | 도시 | Robert Smith의 작품 | 이 목록의 작품들 |
|---|---|---|---|
 예일 영국 미술관 |
뉴헤이븐 | 2 | The Kila Kona Masjid, Purana Qila, Delhi, Inside the Main Entrance of the Purana Qila, Delhi |
이 페이지에 있는 Robert Smith의 연도별 작품은 모두 1823년의 작품입니다. 그중 가장 유명한 작품들을 소개합니다.
The Kila Kona Masjid, Purana Qila, Delhi (1823)
36세: The Kila Kona Masjid, Purana Qila, Delhi은(는) 1823년 작품이며, Robert Smith은(는) 1787년에 태어났습니다.
Robert Smith의 작품 2점이 카탈로그에 등록되어 있습니다.
대부분의 작품은 예일 영국 미술관 (뉴헤이븐)에 소장되어 있습니다. 위 표에 각 박물관 목록이 나열되어 있습니다.
1823 기간 동안: 이 페이지의 총 2점의 작품 중 2점이 해당 시기의 작품이며, 그중 The Kila Kona Masjid, Purana Qila, Delhi점이 포함되어 있습니다.
The Kila Kona Masjid, Purana Qila, Delhi 및 Inside the Main Entrance of the Purana Qila, Delhi은(는) 예일 영국 미술관, 뉴헤이븐이(가) 소장한 이 페이지의 작품 2점 중 일부입니다.
네, 이 페이지에 있는 모든 작품은 해당 작품의 상세 페이지에서 원하시는 크기로 박물관 품질의 수작업 유화 복제본 또는 파인 아트 프린트로 주문하실 수 있습니다.
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.