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The interior of a Maori pa in the olden time
El boyaması yağlı boya reprodüksiyon fiyatları $1031 43 × 23 cm
Orijinal boyutunda $1333 142 × 77 cm Orijinal boyutunda sipariş verin →
Sam Stuart ismini duyuran tablo The interior of a Maori pa in the olden time (1885) eseridir; bu eser Auckland, Auckland Art Gallery Toi o Tāmaki bünyesinde sergilenmektedir. Katalogumuzdaki Sam Stuart imzalı 2 eser arasından en çok beğenilen bu 2 eser; yapıldığı tarih, sergilendiği müze ve onu eşsiz kılan özellikleriyle birlikte sunulmuştur.
Her bir eser için yapılan aramalar, ziyaretler ve siparişlerin birleşimiyle oluşturulan popülerlik puanımıza göre sıralanmıştır. Kasım 2026 tarihinde güncellenmiştir. Bu sayfadaki her bir şaheser, seçtiğiniz boyutta müze kalitesinde, el yapımı yağlı boya reprodüksiyon veya sanat baskısı olarak sipariş edilebilir.
Bu sayfadaki tabloların en büyük kısmına ev sahipliği yapan müze.
| Müze | Şehir | Sam Stuart Eserleri | Bu listedeki tablolar |
|---|---|---|---|
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 2 | The interior of a Maori pa in the olden time, Fort Britomart |
1869 ile 1885 yılları arasında, Sam Stuart sanatının en seçkin tablolarıyla yıl yıl 17 yıllık serüveni.
The interior of a Maori pa in the olden time (1885)
30 yaşında: The interior of a Maori pa in the olden time 1885 yılına aittir ve Sam Stuart 1855 yılında doğmuştur.
Kataloğumuz, Sam Stuart tarafından 1869 ile 1885 tarihleri arasında üretilen 2 eseri listelemektedir.
Çoğu Auckland Art Gallery Toi o Tāmaki (Auckland) bünyesinde bulunmaktadır. Yukarıdaki tablo müzeleri tek tek listelemektedir.
Bu sayfadaki en eski eser Fort Britomart (1869), en yeni eser ise The interior of a Maori pa in the olden time (1885)'dir.
The interior of a Maori pa in the olden time ve Fort Britomart, Auckland Art Gallery Toi o Tāmaki, Auckland bünyesinde bulunan bu sayfadaki 2 eser arasında yer almaktadır.
Evet. Bu sayfadaki her tablo, tablonun kendi sayfasından seçtiğiniz boyutta, müze kalitesinde, el yapımı bir yağlı boya reprodüksiyon veya bir sanat baskısı olarak sipariş edilebilir.
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.