Talaskeian (En mon pays) (1977) je nejslavnější obraz autora Jacques Lambert, který se nachází v muzeu Musée national des beaux-arts du Québec ve městě Québec City. Z 2 děl umělce Jacques Lambert v našem katalogu uvádíme 2 těch, na které se kolektéři a návštěvníci muzeí nejčastěji dívají, včetně roku vzniku, názvu muzea a příběhu každého díla.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026.
Muzeum s největším počtem obrazů na této stránce.
| Muzeum | Město | Díla autora Jacques Lambert | Obrazy z tohoto seznamu |
|---|---|---|---|
 Musée national des beaux-arts du Québec |
Québec City | 2 | Talaskeian (En mon pays), La Grande Solitude |
1977 je rok vzniku všech díel s datem vzniku od Jacques Lambert na této stránce: zde jsou, seřazena podle slávy.
Talaskeian (En mon pays) (1977)
49 let: dílo Talaskeian (En mon pays) pochází z roku 1977 a Jacques Lambert se narodil/a v roce 1928.
Náš katalog obsahuje 2 děl autora Jacques Lambert.
Většina z nich se nachází v Musée national des beaux-arts du Québec (Québec City). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
V období 1977: 2 z 2 děl na této stránce pochází z tohoto období, z nich Talaskeian (En mon pays).
Talaskeian (En mon pays) a La Grande Solitude patří mezi 2 děl na této stránce, která má v zastarání Musée national des beaux-arts du Québec, Québec City.
Jacques Lambert lived a life split between the structured world of communications and the quiet, impulsive pull of the canvas. Born in Chicoutimi, Canada, he spent much of his professional time navigating the management of regional Radio-Canada stations, including a period as the director of Radio CBJ-Radio-Canada. Yet, beneath this administrative career, there was a constant, rhythmic drive to create. He was a man of many sounds and shapes, finding expression not only through a brush but also through the clarinet and the tactile work of sculpture. His hands were often busy with modeling, cube totems, and roundness, seeking a physical presence that matched his visual imagination.
His work often drifted into the realm of fantasy scenes, a category that defined much of his output. He did not merely paint landscapes; he constructed worlds that felt both strange and familiar. This sense of playfulness and human fantasy emerged through decades of steady production, a habit that remained constant from his early years through his final years in 2020.
The presence of his work can be traced through various public and private collections across Quebec and beyond. His output was prolific, marked by a steady rhythm of exhibitions that spanned nearly sixty years. He moved from the academic recognition of his early years in drawing to a wide-reaching presence in the art community.
In the quiet corners of museums and galleries, his specific visions remain. His paintings, such as Talaskeian (En mon pays) and La Grande Solitude, both from 1977, reflect a particular way of seeing the world. These works, held in the Musée Des Beaux, Québec City, show a preoccupation with space and solitude. He had a way of making the unseen feel tangible, whether through the stroke of a brush or the weight of a sculpted totem. His legacy is found in these objects—the remnants of a man who balanced the precision of a director with the wandering mind of a dreamer.