Bijgewerkt in november 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 2 werken van Sam Stuart in onze catalogus
Kortom
Als u één schilderij van Sam Stuart kent, is dat waarschijnlijk The interior of a Maori pa in the olden time (1885), dat in het Auckland Art Gallery Toi o Tāmaki in Auckland hangt. Onze catalogus bevat 2 werken van Sam Stuart. Hieronder vindt u de 2 bekendste werken, elk met het jaartal, de locatie en wat het werk zo bijzonder maakt.
Het museum met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Sam Stuart | Schilderijen uit deze lijst |
|---|---|---|---|
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 2 | The interior of a Maori pa in the olden time, Fort Britomart |
De gedateerde werken van Sam Stuart beslaan hier een periode van 17 jaar, van 1869 tot 1885. Blader jaar voor jaar door de collectie, met de bekendste werken van elk jaar.
Selecteer een jaar om de werken te bekijken.
Bovenaan de lijst staat The interior of a Maori pa in the olden time (1885).
30 jaar oud. Sam Stuart werd geboren in 1855, en The interior of a Maori pa in the olden time dateert uit 1885.
We hebben 2 werken van Sam Stuart in onze catalogus, gedateerd van 1869 tot 1885.
U vindt de meeste van deze werken in Auckland Art Gallery Toi o Tāmaki (Auckland). De bovenstaande museumlijst geeft een volledig overzicht.
Het oudste werk hier is Fort Britomart (1869); het meest recente is The interior of a Maori pa in the olden time (1885).
U kunt 2 van de werken op deze pagina zien in het Auckland Art Gallery Toi o Tāmaki, Auckland, waaronder The interior of a Maori pa in the olden time en Fort Britomart.
Ja. Elk schilderij op deze pagina is verkrijgbaar als handgeschilderde olieverfreproductie of als print, in de maat die bij u past. Open simpelweg de pagina van het schilderij om te bestellen.
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.
