Atualizado em Novembro 2026 · classificado pela nossa pontuação de popularidade (pesquisas, visitas e pedidos de cada obra) · 6 obras de Benjamin Duterrau em nosso catálogo
Em resumo
Aos olhos da galeria, a pintura mais famosa de Benjamin Duterrau é Woureddy, a wild native of Brune Island (1835), cuja obra original está exposta no National Portrait Gallery, em Canberra. Truggernana, a native of southern part of V.D. Land (1835) e Mr Robinson's first interview with Timmy (1840) completam o trio que todos reconhecem. Dos 6 trabalhos de Benjamin Duterrau em nosso catálogo, a galeria apresenta abaixo as 5 obras mais famosas, cada uma original, com seu ano, seu museu e o que a torna única.
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…
Os quatro temas que mais se repetem nestas obras originais, cada um com o seu melhor exemplo.
Os 3 museus que detêm a maioria das pinturas desta página.
| Museus | Cidade | Obras de Benjamin Duterrau | Pinturas desta lista |
|---|---|---|---|
 National Portrait Gallery |
Canberra | 2 | Woureddy, a wild native of Brune Island, Truggernana, a native of southern part of V.D. Land |
 Art Gallery of South Australia |
Adelaide | 2 | Jack, a Tasmanian Aboriginal, holding a club, Timmy, a Tasmanian Aboriginal, throwing a spear |
 National Gallery of Australia |
Canberra | 1 | Mr Robinson's first interview with Timmy |
7 anos, de 1835 a 1841, apresentam toda a carreira datada de Benjamin Duterrau nesta página: uma trajetória breve, vista aqui ano a ano através das suas originais mais famosas.
Escolha um ano para ver as obras originais.
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.
Mais de 1835
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), National Portrait Gallery, Canberra. Truggernana, a native of southern part of V.D. Land (1835) e Mr Robinson's first interview with Timmy (1840) vêm a seguir.
67 anos: Woureddy, a wild native of Brune Island data de 1835, e Benjamin Duterrau nasceu em 1768.
Nosso catálogo contém 6 obras de Benjamin Duterrau, datadas de 1835 a 1841.
Principalmente em National Portrait Gallery (Canberra), Art Gallery of South Australia (Adelaide) e National Gallery of Australia (Canberra). A tabela de museus acima lista todos eles.
Em 1835: 2 das 5 obras nesta página foram feitas então, sendo Woureddy, a wild native of Brune Island delas.
Nesta página, a mais antiga é Woureddy, a wild native of Brune Island (1835) e a mais recente é Jack, a Tasmanian Aboriginal, holding a club (1841).
Man (3), Indigenous australia (2) e Cloudy sky (2), entre as 5 obras nesta página.
Oil On Canvas, para 3 das 5 obras nesta página.
Woureddy, a wild native of Brune Island e Truggernana, a native of southern part of V.D. Land: o National Portrait Gallery, Canberra detém 2 das obras desta página.
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.
