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The interior of a Maori pa in the olden time
Handgeschilderde olieverfreproductie vanaf $1031 43 × 23 cm
Zelfde formaat als het origineel $1333 142 × 77 cm Bestel in de originele afmetingen →
Het schilderij dat Sam Stuart beroemd maakte is The interior of a Maori pa in the olden time (1885); het hangt in het Auckland Art Gallery Toi o Tāmaki, Auckland. Van de 2 werken van Sam Stuart in onze catalogus zijn dit de 2 meest bewonderde, elk gepresenteerd met de datum, het museum en wat het uniek maakt.
Gerangschikt op basis van onze populariteitsscore, die de zoekopdrachten, bezoeken en bestellingen voor elk werk combineert. Bijgewerkt in november 2026. Elk meesterwerk op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie van museumkwaliteit of als een fine art print, in de door u gekozen afmeting.
Het museum met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Sam Stuart | Schilderijen uit deze lijst |
|---|---|---|---|
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 2 | The interior of a Maori pa in the olden time, Fort Britomart |
Van 1869 tot 1885, 17 jaar aan kunst van Sam Stuart, jaar voor jaar, via de mooiste schilderijen.
The interior of a Maori pa in the olden time (1885)
30 jaar oud: The interior of a Maori pa in the olden time dateert uit 1885 en Sam Stuart werd geboren in 1855.
Onze catalogus bevat 2 werken van Sam Stuart, gedateerd van 1869 tot 1885.
De meeste bevinden zich in Auckland Art Gallery Toi o Tāmaki (Auckland). De bovenstaande tabel somt de musea één voor één op.
De oudste op deze pagina is Fort Britomart (1869), de nieuwste The interior of a Maori pa in the olden time (1885).
The interior of a Maori pa in the olden time en Fort Britomart behoren tot de 2 werken op deze pagina die in het Auckland Art Gallery Toi o Tāmaki, Auckland worden bewaard.
Ja. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie van museumkwaliteit of als een fine art print, in de door u gekozen afmeting, via de eigen pagina van het schilderij.
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.