Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 2 teost Robert Smith meie kataloogis
Lühidalt
Kui teate ühe Robert Smith maali, siis see on tõenäoliselt The Kila Kona Masjid, Purana Qila, Delhi (1823), mis ripub Yale Center for British Art-is, New Haven. Meie kataloogis on 2 teost kunstnikult Robert Smith. Allpool on 2 kõige tuntumat teost koos aasta, asukoha ja eripärase kirjeldusega.
Muuseum, milles on kõige rohkem sellel lehel esitatud maaleid.
| Muuseumid | Linn | Robert Smith teosid | Selle nimekirja maalid |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 2 | The Kila Kona Masjid, Purana Qila, Delhi, Inside the Main Entrance of the Purana Qila, Delhi |
Kõik sellel lehel asuvad Robert Smith dateeritud teosed pärinevad aastast 1823. Siin on need teosed.
Vali aasta, et näha selle aasta teoseid.
Nimekirja tipis on The Kila Kona Masjid, Purana Qila, Delhi (1823).
36 aastat vanus. Robert Smith sündis aastal 1787 ning teos The Kila Kona Masjid, Purana Qila, Delhi pärineb aastast 1823.
Meie kataloogist leiate 2 teost kunstnikult Robert Smith.
Enamik neist on leetav Yale Center for British Art (New Haven). Ülemal oleval muuseumite ninal on täielik ülevaade.
1823 ahel on rohkem kui kunagi varem: 2 2 teoseid sellel lehel pärineb sellest ajast, მათtagu The Kila Kona Masjid, Purana Qila, Delhi.
Sellel lehel on Yale Center for British Art, New Haven kogumikus 2 teost, sealhul ka The Kila Kona Masjid, Purana Qila, Delhi ja Inside the Main Entrance of the Purana Qila, Delhi.
Jah. Iga maal on sellel lehel saadav kas käsitsi maalitud õlimaalina või trükkina, teile sobivas suuruses. Tellimiseks avage maali oma leht.
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.
