使 Sam Stuart 声名鹊起的画作是 The interior of a Maori pa in the olden time (1885)；它现收藏于 奥克兰 的 奥克兰美术馆 Toi o Tāmaki。 在 Sam Stuart 的 2 件作品中，这 2 件是最受推崇的杰作，每件作品均附有创作日期、馆藏机构及其独特之处。
排名依据为我们的热度评分，该评分综合了每件作品的搜索量、访问量及订单量。更新于 November 2026。 本页面的每一件杰作均可根据您选择的尺寸，定制为博物馆级手工油画复制品或艺术微喷画。
收藏了本页中大部分画作的 1 家博物馆。
| 博物馆 | 城市 | Sam Stuart 的作品 | 此列表中的画作 |
|---|---|---|---|
 奥克兰美术馆 Toi o Tāmaki |
奥克兰 | 2 | The interior of a Maori pa in the olden time, Fort Britomart |
从 1869 年到 1885 年，跨越 17 年时光，通过其最杰出的画作，逐年回顾 Sam Stuart 的艺术历程。
The interior of a Maori pa in the olden time (1885)
30岁：The interior of a Maori pa in the olden time创作于1885，Sam Stuart出生于1855。
我们的目录收录了 Sam Stuart 的 2 件作品，创作时间从 1869 年至 1885 年。
其中大部分藏于 奥克兰美术馆 Toi o Tāmaki (奥克兰)。上表逐一列出了这些博物馆。
本页最早的作品创作于 Fort Britomart (1869)，最晚于 The interior of a Maori pa in the olden time (1885)。
The interior of a Maori pa in the olden time 及 Fort Britomart 是该页面中由 奥克兰美术馆 Toi o Tāmaki, 奥克兰 收藏的 2 件作品之一。
是的。本页面的每一幅画作均可在画作详情页中，根据您选择的尺寸，定制为博物馆级手工油画复制品或艺术精美版画。
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.