Päivitetty marraskuu 2026 · järjestetty suosituimmuuspisteiden mukaan (jokaisen teoksen haut, vierailut ja tilaukset) · 2 teosta taiteilijalta Sam Stuart luettelossamme
Lyhyesti
Jos tunnet yhden Sam Stuart maalauksen, se on todennäköisesti The interior of a Maori pa in the olden time (1885), joka on esillä paikassa Auckland Art Gallery Toi o Tāmaki, Auckland. Katalogissamme on 2 teosta taiteilijalta Sam Stuart. Alla on 2 tunnetuinta teosta vuosilukuineen, sijainteineen sekä tietoineen niiden erityispiirteistä.
Museo, jossa on eniten tämän sivun maalauksista.
| Museo | Kaupunki | Sam Stuart teokset | Tämän listan maalaukset |
|---|---|---|---|
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 2 | The interior of a Maori pa in the olden time, Fort Britomart |
Sam Stuartn aikakausien teokset kattavat tässä 17 vuotta, vuodesta 1869 vuoteen 1885. Selaa niitä vuosi vuodelta nähdäksesi kunkin ajanjakson tunnetuimmat teokset.
Valitse vuosi nähdäksesi sen teokset.
Listan kärjessä on The interior of a Maori pa in the olden time (1885).
30 vuotta. Sam Stuart syntyi vuonna 1855, ja teos The interior of a Maori pa in the olden time on peräisin vuodelta 1885.
Luettelossamme on 2 teosta taiteilijalta Sam Stuart, aikaväliltä 1869–1885.
Löydät useimmat niistä Auckland Art Gallery Toi o Tāmaki (Auckland). Yllä oleva museolista sisältää täydellisen erittelyn.
Vanhin teos täällä on Fort Britomart (1869); uusin on The interior of a Maori pa in the olden time (1885).
Voit nähdä tällä sivulla 2 teosta Auckland Art Gallery Toi o Tāmaki, Auckland -museossa, mukaan lukien The interior of a Maori pa in the olden time ja Fort Britomart.
Kyllä. Jokainen tämän sivun teos on saatavilla käsinmaalatun öljyreproosion tai painoksena juuri sinulle sopivassa koossa. Avaa teoksen sivu tilataksesi sen.
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.
