1
The interior of a Maori pa in the olden time
Håndmalt oljereproduksjon fra $1031 43 × 23 cm
Samme størrelse som originalen $1333 142 × 77 cm Bestill i original størrelse →
Maleriet som gjorde Sam Stuart berømt er The interior of a Maori pa in the olden time (1885); det henger i Auckland Art Gallery Toi o Tāmaki, Auckland. Av de 2 verkene til Sam Stuart i vår katalog, er disse 2 de mest beundrede, hver presentert med dato, museum og hva som gjør dem unike.
Rangert etter vår popularitetsscore, som kombinerer søk, besøk og bestillinger for hvert verk. Oppdatert November 2026. Hvert mesterverk på denne siden kan bestilles som en håndmalt oljereproduksjon av museumskvalitet eller som et kunsttrykk, i den størrelsen du velger.
Museet som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Sam Stuart | Malerier fra denne listen |
|---|---|---|---|
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 2 | The interior of a Maori pa in the olden time, Fort Britomart |
Fra 1869 til 1885, 17 år med Sam Stuart sin kunst, år for år, gjennom de fineste maleriene.
The interior of a Maori pa in the olden time (1885)
30 år gammel: The interior of a Maori pa in the olden time er fra 1885, og Sam Stuart ble født i 1855.
Vår katalog inneholder 2 verk av Sam Stuart, datert fra 1869 til 1885.
De fleste av dem befinner seg i Auckland Art Gallery Toi o Tāmaki (Auckland). Tabellen ovenfor lister opp museene ett etter ett.
Det eldste på denne siden er Fort Britomart (1869), det nyeste The interior of a Maori pa in the olden time (1885).
The interior of a Maori pa in the olden time og Fort Britomart er blant de 2 verkene på denne siden som er i Auckland Art Gallery Toi o Tāmaki, Auckland sin samling.
Ja. Hvert maleri på denne siden kan bestilles som en håndmalt oljereproduksjon av museumskvalitet eller som et kunsttrykk i ønsket størrelse, direkte fra maleriets egen side.
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.