Pamela Andrews (1741) er det mest berømte maleri af Robert Feke, som er i Rhode Island School of Design Museum of Arts samling i Providence. Self Portrait (1743) og Anne Shippen Willing (Mrs. Charles Willing) (1746) er de næste to værker, som verden kender bedst. Udvalgt fra de 22 værker af Robert Feke i vores katalog er her de 22, som samlere og museumsgæster oftest opsøger, inklusiv årstal, museum og historien bag hvert værk.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
De fire motiver, der optræder hyppigst blandt disse mesterværker, med det fineste eksempel på hvert enkelt.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Robert Feke | Malerier fra denne liste |
|---|---|---|---|
| Boston | 4 | Self Portrait, Mary Channing (Mrs. John Channing), John Channing | |
| Providence | 3 | Pamela Andrews, Portrait of Mrs. Tweedy, Portrait of Joseph Whipple Jr. | |
| Cambridge | 3 | Susannah Speakman Inman (Mrs. Ralph Inman) (1727-1761), Benjamin Franklin (1706-1790), Ralph Inman (1713-1788) | |
| Washington | 2 | Captain Alexander Graydon, Simon Pease | |
| Salem | 1 | Judge Richard Saltonstall by Robert Feke | |
| Cleveland | 1 | Charles Apthorp | |
| Brooklyn | 1 | Portrait of a Woman | |
| Houston | 1 | Portrait of Mrs. Samuel McCall, Sr. (Anne McCall, 1720–1785) |
Cirka ti år, fra 1741 til 1750, rummer alle Robert Feke's daterede mesterværker: her er de, år for år.
Pamela Andrews (1741), Rhode Island School of Design Museum of Art, Providence. Derefter følger Self Portrait (1743) og Anne Shippen Willing (Mrs. Charles Willing) (1746).
36 år gammel: Pamela Andrews er fra 1741, og Robert Feke blev født i 1705.
Pamela Andrews, Self Portrait, Anne Shippen Willing (Mrs. Charles Willing), Judge Richard Saltonstall by Robert Feke, Portrait of Mrs. Tweedy, Portrait of Joseph Whipple Jr., Charles Apthorp, Portrait of a Woman, Portrait of Mrs. Samuel McCall, Sr. (Anne McCall, 1720–1785) og Portrait of Dr. Phineas Bond (1717-1773). Ranglisten ovenfor angiver årstallet og museet for hver af dem.
Vores katalog indeholder 22 værker af Robert Feke, dateret fra 1741 til 1750.
De fleste af dem findes i Museum of Fine Arts (Boston), Rhode Island School of Design Museum of Art (Providence) og Harvard Art Museums (Cambridge). Tabellen ovenfor lister museerne enkeltvis.
I 1748: 8 af de 22 værker på denne side stammer fra denne periode, herunder Charles Apthorp.
Det tidligste på denne side er Pamela Andrews (1741), det seneste Judge Richard Saltonstall by Robert Feke (1750).
Self Portrait, Mary Channing (Mrs. John Channing) og John Channing er blandt de 4 værker på denne side, som er i Museum of Fine Arts, Boston's samling.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion i museums kvalitet eller som et kunstprint i den størrelse, du ønsker, direkte fra maleriets egen side.
In the tapestry of early American art, few threads are as intriguing yet elusive as those woven by Robert Feke. A painter whose life remains shrouded in the mists of the eighteenth century, Feke emerged as a vital force in the colonial landscape, capturing the burgeoning identity of a new world through the faces of its rising aristocracy. Born around 1705 in Oyster Bay, New York, his early years are largely lost to history, leaving behind only fragments of a journey that would eventually lead him to the heart of Boston’s social elite. While much of his personal biography remains speculative, his artistic presence is undeniable; he was a man who translated the quiet dignity and material wealth of the American colonies into enduring visual legacies.
Feke’s arrival in Boston around 1741 marked a transformative moment for regional portraiture. Before his ascent, the colonial aesthetic often lacked a cohesive, sophisticated standard, but Feke brought with him a refined sensibility that bridged the gap between rugged frontier life and European elegance. His work was not merely about recording a likeness; it was an exercise in psychological realism and social positioning. By observing the subtle textures of silk, the luster of pearls, and the stern resolve in a merchant's gaze, Feke provided his patrons with more than just a portrait—he provided them with a sense of permanence and prestige.
The artistic DNA of Robert Feke was deeply shaped by the masters who traversed the Atlantic. Scholars often point to the profound influence of John Wollaston, a British painter whose arrival in the colonies introduced a more flamboyant, Rococo-inspired grace. From Wollaston, Feke learned to navigate the complexities of light and shadow, yet he chose to temper this exuberance with a uniquely restrained elegance. Where others might have leaned into excessive ornamentation, Feke favored meticulous observation and subtle tonal gradations, creating a style that felt both grounded and aristocratic.
This stylistic evolution is perhaps most evident in his ability to blend various European traditions into a distinctively American vernacular. He drew inspiration from the compositions of John Smibert, notably seen in his group portrait of the Isaac Royall family, which echoed the structured grandeur of earlier masters. Through this synthesis, Feke developed a technique that emphasized:
Though his active years were relatively brief—with his documented activities tapering off around 1751—the impact of Feke’s oeuvre was monumental. He worked across a significant geographic corridor, leaving his mark on the vibrant communities of Boston, Newport, and Philadelphia. His subjects were the architects of the colonial economy: shipping magnates, lawyers, and wealthy landowners who sought to immortalize their lineage. In doing so, Feke became a chronicler of an era, documenting the faces of a society on the precipice of profound historical change.
Today, the surviving works of Robert Feke—roughly sixty paintings in total—serve as precious windows into the eighteenth century. His ability to set a new standard for his contemporaries was recognized by art historians like Richard Saunders, who noted that Feke’s pictures established the benchmark by which the next generation of colonial artists would be judged. Whether through the commanding presence of Portrait of Ralph Inman or the delicate grace of his depictions of women, Feke remains a quiet master whose brushstrokes continue to resonate with the dignity of a lost age.