Обновено Ноември 2026 · класирано според нашия индекс на популярност (търсения, посещения и поръчки за всяко произведение) · 2 творби на Robert Smith в нашия каталог
Накратко
Ако познавате някоя картина на Robert Smith, това вероятно е The Kila Kona Masjid, Purana Qila, Delhi (1823), която се намира в Yale Center for British Art, Ню Хейвън. Нашият каталог съдържа 2 произведения на Robert Smith. По-долу са изброени 2-те най-познати, всяко с неговата година, информация къде може да бъде намерено и какво го прави специално.
Музеят, който притежава най-голям брой от картините на тази страница.
| Музеи | Град | Творения на Robert Smith | Картини от този списък |
|---|---|---|---|
 Yale Center for British Art |
Ню Хейвън | 2 | The Kila Kona Masjid, Purana Qila, Delhi, Inside the Main Entrance of the Purana Qila, Delhi |
Всяко датирано произведение на Robert Smith на тази страница е от една и съща година – 1823. Ето ги.
Изберете година, за да разгледате произведенията ѝ.
На върха на списъка е The Kila Kona Masjid, Purana Qila, Delhi (1823).
На 36 години. Robert Smith е роден/а в 1787, а The Kila Kona Masjid, Purana Qila, Delhi е от 1823 г.
В нашия каталог има 2 произведения на Robert Smith.
Повечето от тях ще откриете в Yale Center for British Art (Ню Хейвън). Списъкът с музеи по-горе съдържа пълното разпределение.
В 1823, повече от всяко друго време: 2 от 2 произведения на тази страница са от този период, като The Kila Kona Masjid, Purana Qila, Delhi са сред тях.
На тази страница можете да видите 2 от произведенията в Yale Center for British Art, Ню Хейвън, включително The Kila Kona Masjid, Purana Qila, Delhi и Inside the Main Entrance of the Purana Qila, Delhi.
Да. Всяка картина на тази страница е налична като ръчно рисувано маслено репродукция или като принт, в подходящ за Вас размер. Просто отворете страницата на картината, за да направите поръчка.
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.
