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The interior of a Maori pa in the olden time
Reprodução em óleo pintada à mão de $1031 43 × 23 cm
Mesmo tamanho da original $1333 142 × 77 cm Encomendar no tamanho original →
A pintura que tornou Sam Stuart famoso(a) é The interior of a Maori pa in the olden time (1885); ela está exposta no Auckland Art Gallery Toi o Tāmaki, em Auckland. Dos 2 trabalhos de Sam Stuart em nosso catálogo, estas 2 são as obras mais admiradas, cada uma apresentada com a sua data, o seu museu e o que a torna única.
Classificado de acordo com o nosso índice de popularidade, que combina buscas, visitas e pedidos de cada obra. Atualizado em Novembro 2026. Cada obra-prima nesta página pode ser encomendada como uma reprodução em óleo pintada à mão, com qualidade de museu, ou como uma impressão de fine art, no tamanho de sua escolha.
O museu que detém a maioria das pinturas desta página.
| Museus | Cidade | Obras de Sam Stuart | Pinturas desta lista |
|---|---|---|---|
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 2 | The interior of a Maori pa in the olden time, Fort Britomart |
De 1869 a 1885, 17 anos da arte de Sam Stuart, ano após ano, através das suas mais belas pinturas.
The interior of a Maori pa in the olden time (1885)
30 anos: The interior of a Maori pa in the olden time data de 1885 e Sam Stuart nasceu em 1855.
Nosso catálogo lista 2 obras de Sam Stuart, datadas de 1869 a 1885.
A maioria deles está em Auckland Art Gallery Toi o Tāmaki (Auckland). A tabela acima lista os museus um a um.
A obra mais antiga nesta página é de Fort Britomart (1869), e a mais recente é de The interior of a Maori pa in the olden time (1885).
The interior of a Maori pa in the olden time e Fort Britomart estão entre as 2 obras nesta página pertencentes ao Auckland Art Gallery Toi o Tāmaki, Auckland.
Sim. Todas as pinturas desta página podem ser encomendadas como uma reprodução em óleo pintada à mão com qualidade de museu ou como uma impressão de fine art, no tamanho de sua escolha, a partir da própria página da pintura.
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.