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The Kila Kona Masjid, Purana Qila, Delhi
Ročno slikana oljna reprodukcija od $181 37 × 27 cm
Velikost kot pri originalu $392 106 × 75 cm Naročite v originalni velikosti →
Najbolj znano delo umetnika Robert Smith je The Kila Kona Masjid, Purana Qila, Delhi (1823), ki se nahaja v muzeju Yale Center for British Art v mestu New Haven. Naš katalog vsebuje 2 del avtorja Robert Smith; spodaj je 2 del, ki jih svet najbolj obišče, od katerih vsaka vključuje leto nastanka, muzej, ki jo hrani, in razlog za njen pomen.
Uvrščeno glede na naš skoraj priljubljenosti, ki združuje število iskanj, obiskov in naročil za vsako delo. Posodobljeno november 2026. Vsako podobno delo na tej strani je mogoče naročiti kot muzejsko kakovostno ročno slikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti.
1 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Robert Smith | Slike iz tega seznama |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 2 | The Kila Kona Masjid, Purana Qila, Delhi, Inside the Main Entrance of the Purana Qila, Delhi |
Vsi datiranii dela umetnika Robert Smith na tej strani so iz leta 1823: tukaj so njihova najboljša dela.
The Kila Kona Masjid, Purana Qila, Delhi (1823)
36 let: delo The Kila Kona Masjid, Purana Qila, Delhi iz leta 1823, pri čemer je Robert Smith rodil/a v 1787.
V našem katalogu je na voljo 2 del avtorja Robert Smith.
Večina njih se nahaja v Yale Center for British Art (New Haven). Zgornja tabela navaja muzeje posamezno.
V obdobju 1823: 2 od 2 del na tej strani izvira iz tega obdobja, med katerimi je The Kila Kona Masjid, Purana Qila, Delhi.
The Kila Kona Masjid, Purana Qila, Delhi in Inside the Main Entrance of the Purana Qila, Delhi so med 2 dela na tej strani, ki jih hrani Yale Center for British Art, New Haven.
Da. Vsako sliko na tej strani lahko naročite kot muzejsko kakovostno ročno naslikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti neposredno s strani posamezne slike.
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.