Aktualizováno říjen 2026 · seřazeno podle našeho skóre popularity (vyhledávání, návštěvy a objednávky u každého díla) · 2 děl umělce Sam Stuart v našem katalogu
Stručně řečeno
Pokud znáte jedno dílo umělce Sam Stuart, je to pravděpodobně The interior of a Maori pa in the olden time (1885), které je vystaveno v Auckland Art Gallery Toi o Tāmaki, Auckland. Náš katalog obsahuje 2 děl umělce Sam Stuart. Níže je 2 nejznámějších děl, u každého z nich najdete rok vzniku, místo, kde je lze najít, a to, co je výjimečné.
Muzeum s největším počtem obrazů na této stránce.
| Muzeum | Město | Díla autora Sam Stuart | Obrazy z tohoto seznamu |
|---|---|---|---|
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 2 | The interior of a Maori pa in the olden time, Fort Britomart |
Díla umělce Sam Stuart se zde táhnou po dobu 17 let, od 1869 do 1885. Prohlédněte si je rok po roce spolu s jeho nejznámějšími díly.
Vyberte rok a prohlédněte si jeho díla.
Na vrcholu seznamu je The interior of a Maori pa in the olden time (1885).
30 let. Sam Stuart se narodil(a) v 1855 a dílo The interior of a Maori pa in the olden time pochází z roku 1885.
V našem katalogu máme 2 děl umělce Sam Stuart z let 1869 až 1885.
Většinu z nich najdete v Auckland Art Gallery Toi o Tāmaki (Auckland). Seznam muzeí výše obsahuje podrobný přehled.
Nejstarší dílo je z Fort Britomart (1869); nejnovější je z The interior of a Maori pa in the olden time (1885).
Na této stránce můžete uvidět 2 děl v Auckland Art Gallery Toi o Tāmaki, Auckland, včetně The interior of a Maori pa in the olden time a Fort Britomart.
Ano. Každý obraz na této stránce je k dispozici jako ručně malovaná olejná reprodukce nebo jako tisk v rozměru, který vám vyhovuje. Pro objednání stačí otevřít stránku daného obrazu.
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.
