11月 2026 更新 · 当サイトの人気スコア（各作品の検索数、閲覧数、注文数）に基づくランキング · 6点の Benjamin Duterrauの作品がカタログにあります
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ギャラリーの視点では、Benjamin Duterrauの最も有名な作品はWoureddy, a wild native of Brune Island (1835)であり、その原画はキャンベラのナショナル・ポートレート・ギャラリーに展示されています。 Truggernana, a native of southern part of V.D. Land (1835)とMr Robinson's first interview with Timmy (1840)が加わり、誰もが一度は目にしたことのある至高のトリオが完成します。 当カタログに含まれるBenjamin Duterrauの作品6点の中から、特に有名な5点を厳選してご紹介します。各作品は、制作年、所蔵美術館、そしてその作品ならではの魅力とともに、一点物のオリジナル作品として掲載されています。
The etching titled Woureddy, a wild native of Brune Island was created by Benjamin Duterrau in 1835. This portrait captures Woureddy, a Nuennone man from Bruny Island. He was a man of many voices, capable of speaking five different dialects. His hands were those of a skilled boat builder, accustomed to the grain of wood and the salt of the sea.
The ink meets the paper with a quiet, deliberate precision, capturing a moment of profound stillness. A figure emerges from the pale expanse of the page, rendered in the meticulous lines of a pen and ink drawing. This is Truggernana, a woman of the Nuennone people, her presence felt through the delicate hatching and the careful weight of every stroke. She exists in a space that feels both intimate and…
The painting depicts a formal meeting between a European man and several Indigenous men under a heavy, overcast sky. In the foreground, the two primary figures are engaged in a handshake, a gesture that anchors the composition. The European man wears a dark, heavy coat over a shirt with white and blue stripes. His skin tone and the skin of the Indigenous men are rendered in deep browns and earthy…
Jack, a Tasmanian Aboriginal, holding a club is a portrait by the English painter, etcher, and sculptor Benjamin Duterrau. Executed in 1841, the work captures a specific individual from the Tasmanian Indigenous population during a period of significant colonial transition. The subject of the painting is a man named Jack.
In this 1838 oil painting, titled Timmy, a Tasmanian Aboriginal, throwing a spear, we encounter a singular moment of focused intensity. The artist, Benjamin Duterrau, captures a solitary Tasmanian Aboriginal man at the precise instant of action. There is a palpable sense of muscular tension in the figure, frozen in the middle of a throw. It is a quiet, heavy moment that speaks to the skill and survival required by…
これらのオリジナル作品に繰り返し描かれている4つの主題と、それぞれの最高傑作。
このページに掲載されている絵画を最も多く所蔵している 3 の美術館
| 美術館 | 都市 | Benjamin Duterrauの作品 | このリストの絵画 |
|---|---|---|---|
 ナショナル・ポートレート・ギャラリー |
キャンベラ | 2 | Woureddy, a wild native of Brune Island, Truggernana, a native of southern part of V.D. Land |
 南オーストラリア・ギャラリー |
アデレード | 2 | Jack, a Tasmanian Aboriginal, holding a club, Timmy, a Tasmanian Aboriginal, throwing a spear |
 オーストラリア国立美術館 |
キャンベラ | 1 | Mr Robinson's first interview with Timmy |
7年間にわたる1835年から1841年までのBenjamin Duterrauの全キャリアがこのページに集約されています。最も有名なオリジナル作品を通じて、その歩みを年ごとに辿ることができます。
年代を選択して、当時のオリジナル作品を見る
The etching titled Woureddy, a wild native of Brune Island was created by Benjamin Duterrau in 1835. This portrait captures Woureddy, a Nuennone man from Bruny Island. He was a man of many voices, capable of speaking five different dialects. His hands were those of a skilled boat builder, accustomed to the grain of wood and the salt of the sea.
1835のその他の作品
In this 1838 oil painting, titled Timmy, a Tasmanian Aboriginal, throwing a spear, we encounter a singular moment of focused intensity. The artist, Benjamin Duterrau, captures a solitary Tasmanian Aboriginal man at the precise instant of action. There is a palpable sense of muscular tension in the figure, frozen in the middle of a throw. It is a quiet, heavy moment that speaks to the skill and survival required by…
The painting depicts a formal meeting between a European man and several Indigenous men under a heavy, overcast sky. In the foreground, the two primary figures are engaged in a handshake, a gesture that anchors the composition. The European man wears a dark, heavy coat over a shirt with white and blue stripes. His skin tone and the skin of the Indigenous men are rendered in deep browns and earthy…
Jack, a Tasmanian Aboriginal, holding a club is a portrait by the English painter, etcher, and sculptor Benjamin Duterrau. Executed in 1841, the work captures a specific individual from the Tasmanian Indigenous population during a period of significant colonial transition. The subject of the painting is a man named Jack.
Woureddy, a wild native of Brune Island (1835)（ナショナル・ポートレート・ギャラリー, キャンベラ）。次いでTruggernana, a native of southern part of V.D. Land (1835)、Mr Robinson's first interview with Timmy (1840)が続きます。
67歳：Woureddy, a wild native of Brune Islandは1835年の作品で、Benjamin Duterrauの生年は1768年です。
当カタログには、1835年から1841年にかけて制作されたBenjamin Duterrauによる6点の作品が収められています。
主にナショナル・ポートレート・ギャラリー (キャンベラ), 南オーストラリア・ギャラリー (アデレード) と オーストラリア国立美術館 (キャンベラ)に所蔵されています。上記の美術館一覧にすべて記載されています。
1835年：このページにある全5作品のうち、2作品がその時期に制作されました。そのうちWoureddy, a wild native of Brune Island作品が含まれます。
このページでは、最も古い作品はWoureddy, a wild native of Brune Island (1835)、最新の作品はJack, a Tasmanian Aboriginal, holding a club (1841)です。
このページに掲載されている5点の作品におけるMan (3), Indigenous australia (2) と Cloudy sky (2)
このページに掲載されている全5作品のうち、3作品のOil On Canvas
Woureddy, a wild native of Brune Island と Truggernana, a native of southern part of V.D. Land：ナショナル・ポートレート・ギャラリー, キャンベラには、このページに掲載されている作品のうち2点が所蔵されています。
Benjamin Duterrau arrived in Van Diemen's Land in August 1832, a man of sixty-five years who had already seen the bustling streets of London and the rigorous training of an English apprenticeship. Born in Soho to Anglo-French parents, his early life was shaped by the precision of an engraver’s craft and the artistic shadows of masters like Thomas Gainsborough and William Hogarth. He did not seek a quiet retirement in the colonies; instead, he brought with him a drive to lecture on the civilizing influence of art at the Hobart Mechanics' Hall only months after his arrival.
His transition from the established art circles of England to the rugged landscape of Tasmania was marked by a singular purpose. While many migrants sought fortune through trade, Duterrau sought to document a world in flux. He settled in Hobart, establishing a studio where he could apply the meticulous observation learned in London to the faces and environments of a new territory. His work as a painter, etcher, and sculptor allowed him to capture the nuances of a society undergoing profound colonial shifts.
Duterrau’s most significant contribution lies in his sensitive treatment of the Indigenous Tasmanian population. Working alongside figures such as George Augustus Robinson, he found himself positioned at the intersection of colonial expansion and the survival of Aboriginal culture. He did not merely paint subjects; he recorded individuals with a level of dignity that was rare for the 1830s. His etchings and portraits of Aboriginal men and women provided a visual record of people whose lives were being irrevocably altered by settlement.
His technical approach often relied on a realistic style, prioritizing ethnographic accuracy. In works such as his depiction of "Timmy, a Tasmanian Aboriginal, throwing a spear," he utilized layered brushstrokes to build physical presence and texture. He possessed a particular skill for capturing the tension of a moment, such as the muscular focus of a hunter or the quiet strength in a sitter's expression. These portraits remain vital historical documents for those studying the Nuennone and other tribes of the region.
The scale of Duterrau’s ambition is perhaps best seen in his larger-scale historical compositions. His painting "The Conciliation" (1840) depicts a formal meeting between European colonists and Aboriginal chiefs, utilizing light and color to convey the gravity of the encounter. This work was intended as a study for an even more expansive project titled "A National Picture," an epic canvas that remains lost to history. Despite the disappearance of his largest intended works, his presence in the Tasmanian colonial narrative is firmly established through his surviving sketches and etchings.
Duterrau’s life ended in Hobart in 1851, leaving behind a body of work that functions as both art and archive. His legacy is found in the collections of the Tasmanian Museum and Art Gallery, where his depictions of the landscape and its original inhabitants continue to provide insight into the nineteenth century. He remains a figure who used the tools of an engraver and painter to illuminate the human dimension of Australian colonization.
