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The Kila Kona Masjid, Purana Qila, Delhi
Ranku tapytos aliejaus reprodukcija nuo $181 37 × 27 cm
Pusė kaip originalo $392 106 × 75 cm Užsakyti originalaus dydžio →
Žymiausias Robert Smith tapas yra The Kila Kona Masjid, Purana Qila, Delhi (1823), esantis Yale Center for British Art, New Haven. Mūsų kataloge yra 2 darbų autoriaus Robert Smith; žemiau pateiktos 2 daugiausia visame pasaulyje žiūrimų kūrinių, kiekvieno iš jų – su metai, muziejumi, kuriame jis saugomas, ir paaiškintu, kodėl jis svarbus.
Rangos vieta nulegiama pagal mūsų populiarumumo balas, kurį sudaro kiekvieno kūrinio paieškos, apsilankėjimai ir užsakėjimai. Atnaujinta lapkritis 2026. Kiekvieną šio puslapio šedevrą galite užsisakyti kaip muziejoriaus kokybės rankų darbo alievinę reprodukciją arba aukščiausios kokybės meninį spausdiną jūsų pasirinktu dydžiu.
1 muziejai, kuriuose yra daugiausia šioje puslapyje esamų paveikslų.
| Muzejaus | Miestas | Robert Smith darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 2 | The Kila Kona Masjid, Purana Qila, Delhi, Inside the Main Entrance of the Purana Qila, Delhi |
Visi šios puslapio Robert Smith datuoti darbai yra iš 1823 metų: štai patys garsiausi iš jų.
The Kila Kona Masjid, Purana Qila, Delhi (1823)
36 metų amžiaus: The Kila Kona Masjid, Purana Qila, Delhi sukurta 1823 m. ir Robert Smith gimė 1787.
Mūsų kataloge yra 2 darbų autoriaus Robert Smith.
Dauguma jų yra Yale Center for British Art (New Haven). Viršuje esančiame lange muziejai išvardyti po vieni.
1823 laikotarpyje: 2 iš 2 šioje pusėje esančių darbų sukurtos tada, iš jų – The Kila Kona Masjid, Purana Qila, Delhi.
The Kila Kona Masjid, Purana Qila, Delhi ir Inside the Main Entrance of the Purana Qila, Delhi yra vieni iš 2 šioje puslapyje esamų darbų, kuriuos saugo Yale Center for British Art, New Haven.
Taip. Kiekvieną šioje pusėje esantį paveikslą galite užsakyti kaip muziejoriaus kokybės rankų darbų alievinę kopiją arba aukščiausios kokybės spausdinį pasirinktu jūsų pageidaujamu dydžiu tiesiai iš paties paveikslą puslapio.
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.